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PUBLICATIONS OF THE 
UNIVERSITY OF PENNSYLVANIA 
SERIES IN ROMANIC LANGUAGES AND LITERATURES 

No. 9 


THE SOURCES OF THE 
POETRY OF GUTIERRE DE CETINA 


BY 

ALFRED MILES WITHERS 


A THESIS 

PRESENTED TO THE FACULTY OF THE GRADUATE SCHOOL IN 
PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR 
THE DEGREE OF DOCTOR OF PHILOSOPHY 
IN ROMANIC LANGUAGES 


PHILADELPHIA 

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I 


THE SOURCES OF THE 
POETRY OF GUTIERRE DE CETINA 


/<?s^r 


A THESIS 

PRESENTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE 
UNIVERSITY OF PENNSYLVANIA IN PARTIAL FULFILLMENT 
OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR 
OF PHILOSOPHY IN ROMANIC LANGUAGES 


S' 


BY 

ALFRED MILES WITHERS 

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PRINTED BY 

WESTBROOK PUBLISHING CO. 
PHILADELPHIA . PA. 






1923 



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Publications of the University of Pennsylvania 
Series in Romanic Languages and Literatures 


No. 9 



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CONTENTS 


PAGE 

Foreword. 7 

Gutierre de Cetina—Biographical Summary. 9 

Previous Studies on the Italian and Catalan Sources of the Verses of 
Gutierre de Cetina. 17 

Further Influence of Italian Petrarchists Upon Cetina's Poetry. 24 

•V 

The Influence of Auzias March. 43 


Conclusion 


82 






















FOREWORD 


It was not until 1895 that an effort was made to 
publish an edition of the works of Gutierre de 
Cetina based upon all the extant manuscripts, so 
that up to that time it could not be said that stu¬ 
dents of Spanish literature had had a very good 
opportunity to know the poet fully. Since the 
publication of this edition several studies have 
appeared which show the indebtedness of Cetina 
to individual Italian poets, notably Petrarch, 
Ariosto, and Tansillo. Even these, however, have 
not been exhaustive, and the time is now ripe for a 
more general and a more thorough examination 
than has hitherto been attempted of the sources 
of the poetry of this talented sonneteer. Such an 
examination is the purpose of this study. 

The author wishes here to record his indebted¬ 
ness to Professor Jean B. Beck for several valu¬ 
able suggestions, and his grateful appreciation of 
the assistance, in the matter of bibliography and 
the revision of the manuscript, of Professor Hugo 
A. Rennert. The latter, together with Professor 
J. P. W. Crawford, also suggested the subject of 
the study. To Professor Crawford’s active and 
generous co-operation is largely due whatever 
value there may be in this modest contribution 
to the study of the literature of the Renaissance 
in Spain. 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


9 


I 

Gutierre de Cetina—Biographical Summary 

Gutierre de Cetina, son of Beltran de Cetina and Francisca 
del Castillo, was born in Seville about the year 1518, or 1519. 1 
His family was noble and possessed considerable wealth. 

In regard to the poet’s early years we have practically no 
information. The frequent references to the Latin classics that 
occur in his verses indicate a certain amount of education in 
the humanities, but concerning this we have no details. Indeed, 
until comparatively recent times, his whole life has been shrouded 
in the greatest obscurity, 2 and historians of Spanish literature 
have been dependent upon statements made by the painter 
and poet, Francisco Pacheco, 3 who was born in 1564, seven 
years or more after Cetina’s death, and upon the conjectures 
of Adolfo de Castro 4 and Perez de Guzman. 5 The first authori¬ 
tative account of his life is found in the introduction to the 
works of Cetina by Sr. Hazanas y la Rua, 6 to whom also is due 
the credit of collecting and collating the extant manuscripts of 
the poet’s verses. The editor of those volumes subjected to 
careful scrutiny the verses of the poet, and made a consider- 


1 Cetina’s own testimony, recorded in documents to be mentioned later, was to the effect 

that in April of 1554 he was more than thirty-jive years of age, and Fitzmaurice-Kelly therefore 
assigns 1518 as the most probable date of his birth. 

3 As late as 1890 he was identified with a certain Doctor or Licenciado Gutierre de Cetina 
of Madrid, who was living in that city almost three-quarters of a century after the poet’s 
death (see D. E. Gautier y Arriaza, Gutierre de Cetina, Apuntes biograjicos comparalivos, pub¬ 
lished in ha Ilustracion Espahola y Americana, September 15, 1890, pp. 159-162). This identi¬ 
fication has as little basis of fact as that with a certain Gutierre de Cetina y Abarca, who was 
born at Cuenca, and who died at Puerto Real in 1604, which was proposed by Sr. Moreno de 
Guerra in the Revista de Historia y Genealogia, Madrid, 1914, pp. 49-60. (See note 9, p. 10.) 

3 Pacheco, who refers to Cetina and includes a portrait of him in his Libro de descripcidn 
de verdaderos retratos de ilustres y memorables varones, asserts that he was born in Seville about 
the year 1520, and further speaks of him as author of “un libro de Comedias morales, en prosa 
i verso; i otro de Comedias profanas, con otras muchas cosas, que por su temprana muerte 
se perdieron.” Nothing further is known regarding these plays. 

* Apuntes Biogrdficos, in vol. 32 of the Biblioteca de Aulores Espaholes, pp. XVI-XVIII. 

s Cervantes de Salazar, Salazar de Alarcdn, Gutierre de Cetina, los tres patriarcas de la poesia 
castellana en Mejico, in La Ilustracidn Espahola y Americana, 1890, pp. 139 and 210. 

6 Obras de Gutierre de Cetina, ed. J. Hazafias y la Rua, Sevilla, 1895, 2 volumes. This is 
the first edition that attempts to include all the poet’s works. 



10 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


able contribution to his biography by using references to per¬ 
sons and places that occur in his works. 

We do not know in what year, nor under what circumstances, 
Cetina took up the profession of arms, but his verses clearly 
show that he participated in the campaigns of Italy and Germany 
under the banners of Charles V. We find him at Trent in 1542, 
associated with Diego Hurtado de Mendoza (one of the emperor’s 
envoys to the council held in Trent) to whom he promised to 
write when the latter absented himself from that city. The 
following year he sent an epistola to Mendoza in which he de¬ 
scribes the assault and capture of Duren (August 24, 1543), 
and in which he also requests of him a painting by Titian as a 
present. Two years later he wrote an epistola from Vigevano 
to the Princess of Molfetta, which bears the date of April 24 
1545. 7 The references in his verses to the Po, Ticino, Rhine 
and Danube seem to be based upon his residence in Italy and 
Germany. 8 

With regard to the latter years of the poet’s life we have 
considerable information, thanks to a discovery made by Sr. 
Rodriguez Marin in the Archivo General de Indias in the autumn 
of 1905. Prior to this discovery it was known only that Cetina 
had embarked for the New World about September, 1546, 
accompanied by his uncle, Gonzalo Lopez, Procurador General 
de Nueva Espana. The documents found by Rodriguez Marin 
consisted of the record of a trial carried on in Mexico City and 
Los Angeles in 1554 for wounds inflicted on one Gutierre de 
Cetina. 9 


» This is the only composition among Cetina’s works that bears a date. 

8 A number of references to France, Flanders, Hungary, Naples, and Genoa occur in the 
Paradoja en Alabama de los cuernos, but these cannot be used with certainty in reconstructing 
Cetina’s biography, because his authorship of this work has been questioned. See Hazafias 
y la Rua, Obras de Gutierre de Cetina, Vol. I, p. LXXVI. 

9 There seems to be no doubt that the Gutierre de Cetina here referred to was the poet* 
although it must be admitted that there is nothing in the evidence presented at the trial to 
support this opinion. Other identifications that have been made are rendered chronologically 
impossible by the fact that Cetina was no longer living in 1575. This date marks the appear¬ 
ance of Argote de Molina’s edition of the Conde Lucanor of Don Juan Manuel, in which the 
editor included his Discurso de la poesia castellana. Here we read: “Y el ingenioso Irango 
y el terso Cetina, que de lo que escriuieron tenemos buena muestra de lo que pudieran mas 
hazer, y lastima de lo que se perdio con su muerte.” (Ed. de Sevilla, 1575, fol. 94.) 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


11 


According to the testimony given at the trial, 10 Cetina was 
struck down in Los Angeles on April 1, 1554, by a compatriot, 
Hernando de Nava, who mistook him in the darkness of night 
for a rival in love, Francisco de Peralta, while the latter and 
the poet were engaged in serenading a certain Leonor de Osma, 
wife of a Los Angeles physician. Nava, son of the conquis¬ 
tador who went to Nueva Espana with Narvaez, made every 
effort to take advantage of local rivalries in jurisdiction between 
church and state, but was finally arrested, convicted, and sen¬ 
tenced to death. Apparently through ecclesiastical intervention 
his sentence was commuted to the loss of his right hand. This 
punishment was effected July 7, 1554. 

On June 5, 1557, the Audiencia de Nueva Espana received a 
petition for amnesty, which they refused, from Gonzalo Galeote, 
who was with Nava on the night of the first of April, 1554, 
and who had since been a fugitive from justice. The petition 
is important since it contains the statement that Cetina was 
dead; and it is obviously to be inferred, in view of the serious¬ 
ness of the wound received by him in the affray, considered by 
physicians at that time as certain to result in death, that Cetina 
did not long survive the attack of April 1, 1554. 

This, in briefest outline, is all that is known of our poet’s life. 

A careful study of the verses of Cetina gives us much valu¬ 
able information concerning his friends and acquaintances in 
Spain and Italy whom he mentions in his poems, and to whom 
he addressed certain compositions. His long epistle in tercetos 


«o Drawn both from the victim and from representatives of practically all classes of colonial 
society in Mexico, this testimony is, in the words of Rodriguez Marin, “tan Uena de lances 
raros y peripecias extraordinarias que m&s parece una novela judicial que un proceso real y 
efectivo.” 

Sr. Menendez y Pelayo incorporated in his discussion of Cetina in his Historia de la Poesia 
Hispano-Americana, Vol. 1, 1911, pp. 26-30, a letter from Sr. Rodriguez Marin, outlining 
in its essential features this most interesting account. The mass of legal documents involved 
was published in full in February, 1919, in the Boletin de la Real Academia EspaHola, pp. 54- 
115. Almost three years before, in'the same publication, Vol. Ill, 1916, pp. 325-335, Don 
Francisco A. de Icaza, Mexican ambassador to Spain, stirred by the romantic elements in 
Cetina’s life as revealed in his poetic works, and in the dramatic circumstances of his death, 
as depicted in Rodriguez Marin’s announcement of the material of his discovery, gave an 
impressionistic view of great interest for Cetina’s career; and the same material, supplemented 
by excerpts from the testimony of the trial of Nava, forms the basis of that part of his study 
which treats of Cetina in his book entitled Sucesos reales que parecen imaginados de Gutierre 
de Cetina, Juan de la Cueva, y Mateo Alemdn, Madrid, 1919, pp. 23-75, and 211-241. 



12 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


to Don Diego Hurtado de Mendoza, with its expressions of 
warm admiration and friendship, leaves no doubt that these 
two enjoyed a more or less intimate association. As to pos¬ 
sible relations with Garcilaso de la Vega and Boscdn, from whom, 
together with Hurtado de Mendoza, Cetina must have learned 
much of the art of adapting the new Italian measures to the 
requirements of the Spanish language, we have little definite 
information. The only mention of them made by Cetina in 
the epistle to Mendoza: 

“La imagen de Boscan, que casi viva 
Debeis tener, hara en vuestra memoria 
La mas hermosa parecer esquiva. 

Y el Laso de la Vega, cuya historia 
Sabeis, de piedad y envidia llena, 

Digo, de envidiosos de su gloria." 

reveals nothing which would indicate a personal relationship. 
Sr. Hazanas observes that Mendoza, in writing to Boscan, 
includes the name of Cetina with those of other poets, but 
that Boscan, in his reply, does not mention Cetina, although 
he refers to the others. Neither does Cetina mention Hernando 
de Acuna, who was born probably in the same year as our poet, 
and who moved in the same society in both Italy and Spain, 
nor does Acuna refer in any of his verses to Cetina. 

There is, however, definite proof of intimate acquaintanceship 
between Cetina and Jorge de Montemayor in the former’s 
sonnet beginning: Si como vas , Lusitano, yo fuese. This poem 
has the rubric “soneto de Gutierre de Cetina, siendo enamorado 
en la corte para donde Montemayor se partia,” and to it the 
author of the Diana replied with a sonnet under the caption: 
“Responde Montemayor siendo enamorado en Sevilla, adonde 
Gutierre de Cetina quedaba.” 11 

Baltasar del Alcazar addressed four sonnets to Cetina, 13 
familiarly alluding to himself in one of them as “tu misero 


11 Las Obras de George de Montemayor, repartidas en dos libros, etc., Anvers, MDLIIII, fol 
35v. Montemayor resided in Seville some time between 1543 and 1552. See The Spanish 
Pastoral Romances, by Hugo A. Rennert, Philadelphia, 1912, p. 27. 

*® Obras de Gutierre de Cetina, Vol. I, pp. LIX-LX. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


13 


Dam6n.” Pacheco asserts 13 that Alcazar and Cetina (com¬ 
patriots of Seville) were in close touch with each other upon 
the subject of their writings, and Sr. Rodriguez Marin further 
confirms the reality of their friendship, proving that the epistola 
to which Cetina replies, Obras II, pp. 125-140, and in which 
the author relates “la vida miserable del aldea,” is not the work 
of an unknown Baltasar de Leon, as Sr. Hazanas supposes, 
but that it is in reality from the hand of Baltasar del Alcazar. 14 

Cetina wrote no less than ten sonnets and an epistle to D. 
Luis de Leiva, the second Prince of Ascoli, who fought in Italy 
under the Marquis of Vasto and Fernando Gonzaga, later in 
the Netherlands and France, and died at the age of thirty- 
eight at the siege of Ham in 1557. 15 It is interesting to note 
that two of these sonnets (Numbers XVII and LXIX) were 
apparently composed on the occasion of the death of the prince’s 
father, D. Antonio de Leiva (September 13, 1536) when Cetina 
could not have been more than eighteen years of age, and that 
they are probably, therefore, among his very earliest produc¬ 
tions. 

Sonnet CXLVIII was addressed to the emperor himself, 
sonnets XXXI and CXCI to the Duke of Sessa, Gonzalo Fer¬ 
nandez de C6rdoba, sonnet CXXXIV to the Count of Feria, 
and sonnet CLXXXVIII to the Duke of Alba. This is to men¬ 
tion only the more prominent names of Spanish notables whom 
Cetina addressed in verse. Other less significant ones are: 
D. Jerdnimo de Urrea, soldier and poet (Cetina’s epistola V 
being an answer to one received from Urrea); Luis de Cotes, 
Bishop of Civita and Ampurias in Sardinia; D. Juan de Rojas 
Sarmiento; and the abbot Gualbes, probably the same whom 
Boscan mentions in his Octava Rima. 16 

The Maria de Mendoza of Cetina’s fifth madrigal, beginning 
Yo cantaria de vos si altamente , was probably either Maria de 
Mendoza Sarmiento, Countess of Rivadavia and wife of Fran- 


*3 Ibid., p. LIX. 

*4 Poesias varias de Baltasar del Alcdzar, ed. F. Rodriguez Marin, Madrid, 1910, p. XXII. 
The epistola in question is found on pages 173-180. 

See the review of the Obras de Gutierre de Cetina (edited by Hazafias y la Rfia) by A. Morel- 
Fatio, in the Revue Critique, Vol. XLII, 1896, p. 134. 

16 Ibid., pp. 135 and 136. 



14 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


cisco de los Cobos, favorite of Charles V, or the daughter of 
that lady, Maria de Sarmiento Mendoza, who married the Duke 
of Sessa. 17 

Cetina’s friends and acquaintances in Italy were hardly less 
numerous, and not less renowned than those of his own country. 
He addressed his sonnet XIV to Alfonso di Avalos, Marquis 
of Vasto, son of the Marquis of Pescara, and intimate friend 
of Garcilaso and other Castilian poets. Sonnet LVI extols 
the charms of the Marchioness of Vasto. Another (CXXIX) 
laments the death of the beautiful and ill-starred Marina de 
Aragdn (who died not later than 1549), daughter of Alonso de 
Aragdn y Gurrea, fifth Count of Ribagorza. This celebrated 
lady, whose brief life possesses a singular and pathetic interest, 
was admired and praised by many poets, notably Hurtado de 
Mendoza and Tansillo. 18 

Another lady whose beauty and high station were sung by 
Tansillo and other poets, also received the tributes of Cetina. 
This was Isabella di Capua, Princess of Molfetta, daughter 
of Fernando di Capua, Duke of Termoli and Prince of Molfetta, 
who married in 1533 Fernando Gonzaga. The latter, son of the 
Marquis of Mantua, was one of the principal captains of Charles 
V, and commanded at the assault of Duren, which Cetina wit¬ 
nessed, and which he described as already stated. Cetina 
addressed to the Princess of Molfetta two sonnets (XXX and 
XXXIV) and two epistolas (VI and IX). In the first of the 
epistolas he confides to her his passion for the Countess Laura 
Gonzaga, whom he symbolizes in the poem by “lauro” 19 in 
contrast with “olmo,” the symbol of a former love of nine or 
ten years duration; and the second, written in a bantering 
tone, requests of the princess the preparation of an olla podrida 


>7 Ibid., p. 135. 

* 8 See Morel-Fatio, Dona Marina de Arag6n (1523-1549), in Etudes sur VEspagne, troisieme 
s£rie, Paris, 1904, pp. 75ff. 

^The use of “lauro” is significant also in the Epistola XII to the Prince of Ascoli, as is 
likewise that of “laureado” in verse 19 of the same poem (Fa no pretendo mas ser laureado), 
D. Francisco A.de Icaza, in his Sucesos reales que parecen imaginodos, etc. (see note 10), pp. 59-66, 
indulges in speculations on the character of this passion, and as to whether it was reciprocated 
or called forth only coquetry in response. He thinks that certain of the poet’s verses, such 
as the sonnet beginning El dulce fruto en la cobar de mano, may have had reference to this noble 
lady. 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


15 


to welcome his coming. The ingredients which he recommends 
for it give occasion for the mention of persons in the ** entourage” 
of the princess, for each of whom he has some humorous remark. 
Only the Countess Laura Gonzaga, for whom Cetina appears 
to have felt a genuine passion, is here treated with respectful 
consideration. 

Cetina knew also the Marchioness of Padula, Mara di Car¬ 
dona, celebrated as poetess and musician. She is for him, in 
the sonnet Ilustre honor del nombre de Cardona, 20 not the tenth 
muse, but the first, 

“No decima a las nueve de Parnaso, 

Mas la primera del oriente a ocaso, 

A quien rara beldad honra y corona.” 

It is possible that other investigators who have access to 
Italian archives may be able to furnish new material for Cetina’s 
biography by the study of the society of Naples and Milan 
in which the poet moved. Such a study might furnish new 
facts concerning the place occupied by the poet in his foreign 
environment, and also perhaps concerning the friendships which 
he formed, and which may have affected his literary work. 
The present writer has been unable to make such a study, and 
has been obliged to limit himself to the evidence found in Cetina’s 
works of the influence of the Italian poets whom he knew, 
either personally or by reputation. 

Unfortunately we have no information concerning the Italian 
poets whom Cetina may have known during his residence in 
Italy. The studies that have already been made of the sources 
of his verses show that he read with pleasure the works of 
Petrarch, and he must have read eagerly the compositions 
of the Italian pcets who were enjoying popularity during the 
time of his sojourn in their country. Chief among the latter 
was Luigi Tansillo, to whom Cetina seems to have felt a spiritual 
kinship, and whose works, as will be seen later, furnished to 
Cetina inspiration for a number of poems. 


30 This composition is evidently a sort of counterfeit of Garcilaso’s sonnet to the same lady, 
which also begins Ilustre honor del nombre de Cardona. See Obras de Cutierre de Cetina, Vol. 
I, pp. 106 and 107, note. 



16 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


The works of Gutierre de Cetina shared the fate of those of 
many of his contemporaries, and no composition from his hand 
was published during his lifetime. A small number of his 
poems were published in 1774-1778 in Vol. 7 of the Parnaso 
Espanol of Lopez de Sedano, and additional compositions were 
printed in 1854 by Adolfo de Castro in Vol. I of the Liricos 
de los siglos XVI y XVII in the Biblioteca de autores espandles, 
pp. 40-50. A somewhat larger collection appeared later (1866) 
in Vol. II of Gallardo’s Ensayo de una biblioteca espanola de 
libros raros y curio so s, cols. 410-448. 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


17 


II 

Previous Studies on the Italian and Catalan Sources of 
the Verses of Gutierre de Cetina 

In his two volume edition entitled Obras de Gutierre de Cetina, 
published in 1895, Sr. Hazanas y la Rua attempted to collect 
from all sources the extant verses of Cetina. 

The compositions assembled in these volumes comprise two 
hundred and forty-four sonnets, 1 five madrigals, seventeen 
epistolas, eleven canciones , nine poems in estancias or octavas, 
two capitulos, a sextina, an elegia , an oda, an anacreontica, and 
two selections in prose. 

Cetina’s authorship of one of the prose compositions, the 
Paradoja en alabanza de los cuernos , 2 has been questioned. 3 With 
respect to the other, the Didlogo entre la cabeza y la gorra , 4 * 6 7 the 
authorship of Cetina has not been disputed, but at all events 
it is merely a translation of Pandolfo Collenuccio’s II Filotimo, 
Dialogo fra la testa e la berretta, composed toward the end of 
the fifteenth century. Collenuccio is well known for an early 
translation of the Menoechmi, and for his Commedia di Jacob e di 
Josef and other works. He died in 1504 while a prisoner of 
Giovanni Sforza, tyrant of Pesaro. 

With regard to Cetina’s poetical works, the graceful little 
anacreontica 5 has about it an air of freshness and originality, 
and the oda 6 is, so far as we know, in all probability Cetina’s 
original work. The source of the elegia, 1 however, Si aquel 
dolor que da a sentir la muerte, has been discovered by Signor 


1 One of these sonnets must be excluded as belonging to Hernando de Acufia. It is the sonnet 
LXIII, beginning: Cuando la alegre y dulce primavera. See J. P. W. Crawford, Notes on the 
Poetry of Hernando de Acufia, in Romanic Review, Vol. VII, 1916, p. 315. 

* Obras de Gutierre de Cetina, Vol. II, pp. 207-239. 

J Ibid., Vol. I, p. LXXVI. 

« Ibid., Vol. II, pp. 163-206. 

J Ibid., Vol. I, p. 296. 

6 Ibid., Vol. I, pp. 293-295. 

7 Ibid., Vol. II, pp. 145-152. 



18 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


Eugenio Mele 8 in Tansillo’s Se quel dolor che va innanzi al morire 9 

Signor Paolo Savj-Lopez states 10 that the sefctina of our poet, 
Tantas estrellas no nos muestra el cielo , 11 has as its source of 
inspiration Petrarch’s sestina , Non ha tanti animali il mar fra 
Vonde , but although it is reasonably certain that such is the 
case, there is little essential connection between the thoughts 
developed in the two poems. 

One of the capiiulos , Liga quien diga , y quien alaha alabe , 12 
is an amplification of Ariosto’s elegia, Piaccia a cui piace , e 
chi ledar vuol IcdiP 

Two of the nine compositions in octavas or estancias 14 are glosses 
of verses of Petrarch , 15 and another 16 bears the caption: Traduc- 
cion de una estancia toscana ” (which has not been identified). 

The following Italian sources of two of the canciones have 
been discovered: Cancion II, Animal venturoso , 11 a free adapta¬ 
tion of Tansillo’s Quel vago animaletto * 1 * ; and cancion V, Cuando 
la noche en el partir del dia , 19 a translation, in the same number 
of verses as the original, of Ariosto’s Quando'l sol parte , e Vombra 
il mondo cuopre. Only the names of four of the six interlocutors 
in this Italian pastoral canzone are changed, Selvago, Fausto, 
Nisa and Ginebra appearing respectively as Vandalio (Cetina’s 


8 E. Mele, Revista critica de historia y literatura espahola, portuguesa e hispano-americana s 
Vol. I, 1896, p. 267. 

9 Poesie Liriche edite ed inedite di Luigi Tansillo, con prefazione e note di F. Fiorentino, Napoli, 
1882, pp. 167-169. 

Cetina’s elegia was observed by Hazanas y la Rua to have such analogies with that of Acuna, 
Si el dolor de la muerte es tan crecido, and with the epistola of Hurtado de Mendoza, Si el dolor 
de morir es tan crecido, that he himself suspected that all were from a common original. 

Tansillo’s poem in terzine has 70 verses; Cetina’s elegia, 61. 

10 P. Savj-Lopez, Un Petrarchista Spagnuolo, Trani, 1896. The writer has been unable to 
find a copy of this little 20-page monograph, apparently was published In the Rass- 
egna pugliese, anno XII, fasc. 9. (See Zeitschrift f. rom. Phil. XXII, 1898, p. 498). Its 
contents have been made known through a review by E. Mele, Revista critica, etc., Vol. I‘ 
1896, pp. 265-267. 

11 Obras de Gutierre de Cetina, Vol. I, pp. 290-292. 

» Ibid., Vol. II, pp. 153-156. 

E. Mele, Revista critica, etc., Vol. I, 1896, p. 266. 

l * Obras de Gutierre de Cetina, Vol. I, p. 287. 

*s The first of these estancias incorporates for its last line Ma contrastar non posso al gran 
disio, which is the third verse of the second stanza of Petrarch’s canzone VIII, Perchh la vita 
& breve. The second estancia has as its last verse Petrarch’s popular line Chi vuol veder qua u ~ 
Inuque puo Natura, the first verse of one of his sonnets. 

18 Obras de Gutierre de Cetina, Vol. I, p. 274. 

>7 Ibid., Vol. I, pp. 218-221. 

18 For Tansillo’s poem, see Fiorentino’s edition, pp. 155-159. 

19 Obras de Gutierre de Cetina, Vol. I, pp. 232-239. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


19 


poetic name, signifying the Andalusian ), Elpin, Dorida, the 
poet’s earlier love, and Amanllida, who supplanted Dorida 
in his affections. 

The seventeen epistolas ascribed to Cetina are all in tercetos , 
except one addressed to the Princess of Molfetta , 20 which is in 
versos sueltos. The Epistola de Dido a Eneas 21 has been ascribed 
also to Hernando de Acuna and to Diego Hurtado de Mendoza . 22 
This is a translation of the seventh Heroida of Ovid, and its 
two companion epistolas, Filis a Demofon 23 and Penelope a 
Ulises 24 are translations from Numbers II and I of the Heroides . 
One epistola, La Pulga, 2S has been by some attributed to Men¬ 
doza . 26 It is not an original composition, but an imitation of 
the Capitolo del Pulice of the Venetian poet, Lodovico Dolce . 27 
The eighth epistola, En alahanza de la cola 0 rabo 28 has been 
attributed likewise to Mendoza . 29 Like its prose companion, 
the Paradoja en alahanza de los cuernos, already referred to, 
it is totally different in tone and substance from the works 
definitely known to be Cetina’s, which are throughout notably 
free from blemishes of vulgarity or indecency. 

Number II of the madrigals 30 of Cetina was inspired by 
certain verses of Auzias March in his cant d'amor LXIX, Clar 
es e molt a tots los amadors , 31 and the fifth 32 is a direct transla- 


30 Ibid., Vol. II, pp. 79-84. 

»« Ibid., Vol. II, pp. 15-30. 

*3 Ibid., Vol. II, pp. 15-16, note. 

33 Ibid., Vol. II, pp. 58-68. 

34 Ibid., Vol. II, pp. 117-124. 

»s Ibid., Vol. II, pp. 89-98. 

»« Ibid., Vol. II, p. 89, note. See also Foulchl-Delbosc, Les oeuvres attributes d Mendoza, 
in the Revue Hispanique, Vol. XXXII, 1914, p. 42. 

37 Obras de Gutierre de Cetina, Vol. II, p. 89, note, and Vol. I, p. LXXXIII. See also Foulchg- 
Delbosc, Revue Hispanique, Vol. XXXII, p. 42. 

3 * * Obras de Gutierre de Cetina, Vol. II, pp. 68-79. 

FoulchS-Delbosc, Les oeuvres attributes d Mendoza, in the Revue Hispanique, Vol. XXXII, 
pp. 38-40, and Obras de Gutierre de Cetina, Vol. II, p. 68, note. 

30 Obras de Gutierre de Cetina, Vol. I, pp. 4-5. 

si This fact is noted by Am6d6e PagSs in his work entitled Ausias March et ses prtdtcesseurs, 
Paris, 1912, p. 417. M. PagSs, the foremost authority on the life and works of Auzias March, 
does not appear to have known Hazafias y la Rfia’s edition of the Obras of Cetina. He makes 
independent mention of the two sonnets (XXXVII and XC) shown by Hazafias y la Rtia 
to be from March, and refers, for the text of Cetina’s poetry, to Gallardo. 

33 Obras de Gutierre de Cetina, Vol. I, pp. 7-8. 



20 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


tion of Tansillo’s madrigal: Io canteria di voi si lungamente , 33 
The remaining three, including the renowned Ojos claros, 
serenos, are apparently Cetina’s own creations. 

Sr. Hazanas did not attempt to make a chronological classi¬ 
fication of Cetina’s sonnets, which constitute the largest and 
most important part of the poet’s work, 34 and contented him¬ 
self with arranging them in alphabetical order in accordance 
with the opening words of the initial lines. This method of 
procedure seems justifiable, because only in a few cases can 
the dates of these compositions be established or even conjec¬ 
tured. The sonnets which refer to D6rida are clearly earlier 
than the sonnets, the epistles, and the cancion in which the 
poet gives expression to his more spiritual love for Amarillida. 
But in only three sonnets is Dorida mentioned, and in only 
four Amarillida, and so this clue as to relative dates of appear¬ 
ance is too slight to be of much importance in the chronological 
classification of the sonnets. 

The sources of twenty of them were definitely known before 
the present study was undertaken. Sr. Hazanas has indicated: 
(1) that sonnets VIII, XLII, and CXLIV {Amor, fortuna, y 
la memoria esquiva, Como la simplecilla mariposa, and Ni por 
el cielo ver correr estrellas) are imitations of the well-known 
sonnets of Petrarch: Amor, fortuna, e la mia mente schiva, 
Come talora al caldo tempo sole, and Nb per sereno del ir vaghe 
stelle; (2) that sonnets CII, CLXXX, and CCXX {Escrito 
aunque imposible al fin parece, Querria saber, amantes, como es 
hecha, and Sobre las ondas del helado Iberoi) have as rubrics 
respectively: “Sobre un verso de Ovidio,” 33 “Traduction de 


33 See E - MeIe ’s review of Savj-Lopez, Un Petrarchista Spagnuolo, in Revista critica etc 
Vol. I, 1896, pp. 265-267. 

Tansillo’s poem may be read in Fiorentino’s edition of that poet’s work, p. 159. It is, i n 
its turn, inspired by Petrarch’s sonnet Io canterei d'Amor si novamente. 

34 Sr. F. A. de Icaza assumes ( Sucesos reales que parecen imaginados, etc., p. 57) that the 
sonnets, as indeed all of Cetina’s compositions that have been preserved, were written before 
his departure for Mexico in 1546, and that he therefore composed them between the ages of 
approximately eighteen and twenty-six. If this is true, the fact would serve to explain their 
spontaneity and freshness, but would render all the more remarkable Cetina’s masterly skill 
in handling the sonnet form. 

35 “Fit quoque longus amor quern diffidentia nutrit,” Remedia amoris, V. 543. M. Morel- 
Fatio, not Sr. Hazafias, gives the correct passage and its place in the works of Ovid. See 
Revue Critique, Vol. XLII, 1896, p. 133. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


21 


un soneto toscano,” 36 and Traduccion de un epigrama latino” 37 ; 
(3) that Number CVIII, Excelso monte do el romano estrago , 
is a translation of the much admired and often translated sonnet 
of Castiglione, Superbi colli, e voi, sacre mine 38 ; and (4) that 
sonnets XXXVII and XC ( Como enfermo a quien ya medico 
tier to, and El tiempo es tal que cualquier fiera agora ) are trans¬ 
lations from verses of Numbers LIX and LXIV of the cants 
d’amor of Auzias March. 39 

Signor Savj-Lopez 40 found the sources of sonnets CCXIX 
and CCXXXII (Si vos pensdis que por un ceno air ado, and 
Triste avecilla que te vas quejando ) in two of Petrarch; namely, 
Se voi potesti per turbati segni, and Vago augeletto che cantando 
vai. His most important contribution to our subject, how¬ 
ever, consists in his discovery of the very considerable influence 
upon Cetina’s verse of the poetry of Tansillo. He showed that 
to this popular Italian Petrarchist, with Bembo and Dolce 
almost as highly esteemed by contemporary Spain as even the 


This sonnet has not been identified. It was imitated also by Hernando de Acufia in his 
sonnet Digame quien lo sabe c6mo es hecha. See Obras de Gutierre de Cetina, Voi. I, p. 161, note. 

ii M. Morel-Fatio refers us ( Revue Critique, XLII, p. 133) for this epigram to No. 709 of 
Riese’s Anthologia Latina. It is entitled De puero glacie perempto, and has been ascribed both 
to Germanicus Caesar and to Julius Caesar. Its author may in turn have been indebted to 
an epigram in Greek on the same subject by Flaccus ( Anth. Pal., VII, 542). 

A little boy playing on the frozen Ebro, breaks through the ice. His body is carried out 
to sea, while the head, severed by the sharp crust of the ice, remains upon the surface where 
he fell. Here the mother finds it. 

‘ Hoc peperi flammis, cetera ’ dixit ‘ aquis. 

Me miseram! plus amnis habet solumque reliquit, 

Quo nati mater nosceret interitum.’ 

Cetina appears not to have caught the spirit of the Latin when he translated these lines, 
for the last tercet of the least pleasing of all his sonnets: 

“1 Ay, cruel hado-dijo-extrafio y ciegol 
Pues de lo que pari no me tocaba 
MSs parte que €sta, esta consuma el fuego.” 

It is a singular coincidence that this Latin epigram is reproduced, with slight variations 
following one of the extant manuscripts, in the Primera Cronica General of Alfonso el Sabio, 
where it is ascribed to Julius Caesar, and included to exemplify the latter’s skill in versification. 
(See Alfonso X El Sabio; Prdlogo, Seleccidn y Glosarios de Antonio G. Solalinde, Madrid, 1922, 
Voi. I, P- 151.) 

38 For the history of this sonnet, as revealed in its imitations and translations by other poets, 
see Foulche-Delbosc, Notes sur le sonnet Superbi Colli, in Revue Hispanique, Voi. XI, 1904, 
pp. 225-243; and Carolina Michaelis de Vasconcellos, Investigaqdes sobre sonetos e sonetistas 
portugueses e castelhanos, in Revue Hispanique, Voi. XXII, 1910, pp. 585-587. 

39 All citations from March will be included later. 

<0 See E. Mele’s review of Savj-Lopez, Un Petrarchista Spagnuolo, in Revista critica, etc., 
Voi. I, 1896, pp. 265-267. 



22 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


great master himself, was due the inspiration of not less than 
five of Cetina s sonnets, as follows: Tansillo, Amor m'impenna 
l ale, e tanto en alto —Cetina, XI, Amor mueve mis alas y tan 
alto; Tansillo, .Quel nodo ch'io pensai che fosse sciolto —Cetina, 
XV, A quel nudo que ya debia ser suelto ; Tansillo, Qual rapida 
procella si repente —Cetina, LVII, Cudl fiera tempestad, cudl 
accidente; Tansillo, Simile al oceano quando piii freme —Cetina, 
CX, Golfo de mar con gran fortuna airado-, Tansillo, Cantai, 
or piango, e se nel duro petto— Cetina, CXXVIII, Llorando 
vivo, y si en el fiero pecho. 

Following Savj-Lopez, in a review of his monograph, Un 
Petrarchista Spagnuolo, Signor Eugenio Mele made additional 
contributions to the subject of the origins of Cetina’s sonnets, 41 
calling attention to the fact that sonnet CLVI, (!) Oh pasos tan 
sinfruto derramados!, translates one of Petrarch, 0 passi spar si, 
o pensier vaghi e pronti, and sonnet CCIII, Si es verdad como 
estd determinado, the little seven-line scherzo of Tansillo, Se 
e ver quel che si legged He also remarked that the Italian verse 
(Intendame chi puo che m'intend' io) which serves as the last 
line of Cetina’s sonnet IV, is the seventeenth verse of the eleventh 
canzone of Petrarch.« 

Two sonnet contributions to Cetina from Auzias March, 
in addition to those already mentioned by Hazanas y la Rua, 
were added by Pages in his work already referred to. 44 These 
will be included in full in a later part of this study. 

Finally, it remains to be observed in connection with sources 
previously discovered by others, that there has been brought 
to light a translation by Cetina of a sonnet of Giovanni Mozza- 
relli, Mentre i superbi tetti a parte a parted Here the poets com- 


«* Ibid., pp. 266-267. 

< J Edition of Fiorentino, p. 154. 

« There is no connection between the two compositions other than the utilization of this 
one verse, and the general obscurity of both poems, due in the case of the canzone to an excess 
of rhyme difficulties. The writer found the same single line in a sonnet of Varchi Ben mi 
parea veder certo. ch'al mio (Opere di Benedetto Varchi, Trieste, 1859, Vol. II, p. 893)- and in 
a two-page poem in terzme of Emilio Emilii, Rime di diversi eccellenti autori bresciani nuova 
mente raccolte e mandate in luce da G. Ruscelli, Venezia, 1554. 

« Ausias March et ses Predecesseurs, Paris, 1912, p. 417. 

if"'” h J. 3 J eview ° f the0 ^ s d ‘ GMiaf " d ‘ Cetina, in the Revue CriU,«e. 
Vol. XLII. 1896, p. 132. This sonnet was imitated, as M. Morel-Fatio observes, by Desportes 
and it also inspired a sonnet by Hernando de Acufia. (See J. P. W. Crawford, Two Spanish 
imitations of an Italian sonnet, in Modern Language Notes, Baltimore, 1916, pp. 122-123 ) 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


23 


pare the cruel indifference of their mistresses to the joy of Nero 
in the spectacle of his burning capital. The Spanish sonnet 
is Number CXXXI of the Obras, Mientra con gran temor por 
coda parted 

Cetina’s borrowings, then, as far as they have been studied 
hitherto, and excluding the thirty-three pages of translations 
from the Heroides of Ovid, consist of the materials or the sug¬ 
gestions for twenty sonnets, two canciones, two madrigals, 
two estancias , one capitulo and one sextina. Tansillo appears 
as the source of inspiration for 246 verses, Ariosto for 193, 
Petrarch for 169, and Auzias March for 87. 

These four names have been of paramount importance in 
previous studies of literary influence upon Cetina, although 
it should be observed in the case of Petrarch that only three 
of Cetina’s compositions (sonnets VIII, CLVI, and CCXIX) 
are in the nature of translations from his work, and that the 
others that may be spoken of as inspired by Petrarch are free 
imitations, or simply reminiscent of certain of that poet’s verses. 

The efforts of the present writer have not seriously affected 
the foregoing numerical ratios of influence of the three Italian 
poets on the work of Cetina, but they have, on the other hand, 
enabled him to present substantial evidences that the influence 
of March upon that work was actually greater than that of the 
other three poets combined. 

In order that this predominating influence of the Catalan 
may be clearly established and adequately appreciated, it is 
important to complete, as far as possible, the record of Cetina’s 
borrowings from the Italians, and to do this, as thoroughly 
as the facilities of the writer have permitted, is the purpose 
of the following chapter. 


<« M. Morel-Fatio reads terror for temor in this verse. 



24 


THE SOURCES OF THE POETRY OF CUT1ERRE DE CETINA 


III 

Further Influence of Italian Petrarchists Upon Cetina’s 

Poetry 

We have seen in the preceding chapter that Cetina was in¬ 
spired to a relatively slight extent by Petrarch, and to a much 
greater degree by Tansillo and Ariosto. It has likewise been 
observed that Castiglione, so much admired by Boscdn and 
Garcilaso, was also imitated by Cetina. Specific cases of com¬ 
mon sources of inspiration in Italian for Cetina and the more 
prominent contemporary poets of Spain, 1 were noted in Tan- 
sillo’s elegy, Si quel dolor che va innanzi al morire } which Hurtado 
de Mendoza, Hernando de Acuna, and Cetina all translated; 
in Mozzarelli’s sonnet, Mentre i superbi tetti a parte a parte , 
translated by Acuna and Cetina; and in an unidentified Italian 
sonnet, translated, according to his own confession, by Cetina, 
and either translated or closely imitated by Acuna. 2 3 

The discoveries of his imitations in Italian verse forms hitherto 
mentioned do not reveal for Cetina a poetic personality markedly 
different from that of Mendoza and Acuna. Like them, it 
would appear from previous studies, he derived inspiration 
from such Italian verse as appealed to his fancy, and wrote 
poetry for the pleasure of its composition, or from a desire to 
express in conventional fashion sentiments of love for D6rida 
and Amarillida. Had he been born earlier, he might have been 
an innovator in the use of Italian measures, but Boscdn and 
Garcilaso were already famous for their sonetos , their canciones 
de estancia larga, and their tercetos , octavas , and versos sueltos , 


1 In connection with common sources of inspiration for Cetina and his Spanish contempo¬ 

raries might be mentioned the former’s sonnet CXXIV, Leandro que de amor en fuego ardia, 
embodying Leander’s dying appeal to the vindictive waters, and his companion sonnet XLVII, 
Con aquel recelar que amor nos muestra, dealing with Hero’s despair at sight of her dead lover. 
The first of these has numerous counterparts in sixteenth century Spain (See Menendez 
y Pelayo, Antologia de poetas liricos Castellanos, Vol. XIII, pp. 361-379), and the matter of 
the second was treated by Hernando de Acufia in a sonnet beginning: De la alta torre al mar 
Hero miraba. (Obras de Gutierre de Cetina, Vol. I, p. 48, note.) 

3 Obras de Gutierre de Cetina, Vol. I, p. 161, note. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


25 


when Cetina was writing to Mendoza: “Yo que a volar he 
comenzado apena.” He, therefore, merely followed their ex¬ 
ample, and, like Mendoza and Acuna, utilized their metrical 
innovations, already acclimatized and firmly rooted in the 
friendly soil of Spain. 

Such are the natural inferences to be drawn from former 
studies of Cetina’s Italian sources. Let us now see what addi¬ 
tions can be made to the estimate of Italian influences upon 
our poet, with a view to determining whether or not any modi¬ 
fication is necessary regarding opinions hitherto held concerning 
the Italian sources of his work. 

Signor Mele’s assertion 3 that it would be easy to discover 
among Cetina’s verses twice as many cases of imitation and 
translation of Italian Petrarchists as have heretofore been found, 
has not been verified by the results of the readings of the present 
writer in those “frias, mon6tonas, y extenuadas poesfas de 
los cancioneros del siglo XVI.” 4 He has discovered there, how¬ 
ever, the apparently certain sources of nine additional sonnets, 
and the probable origin of at least four others. 

Five of the proved sources are to be found in the anthology 
entitled: Rime diverse di mclti eccellentissimi auttori nuovamevte 
raccolte, 5 and if Cetina really met with them there, they are 
quite impartially chosen, since no two of them are the work of 
a single author. The first to be cited is a sonnet by Giovanni 
Andrea Gesualdo 6 : 


3 Revista critica , etc., Madrid, 1896, p. 267. 

* Good facilities for this study are to be found in the library of the University of Pennsylvania 
which is rich in volumes of Italian poetry of the fifteenth and sixteenth centuries, both in the 
works of individual authors and in rare anthologies. 

s It is well known that this collection, made by Lodovico Domenichi, was drawn upon by 
all the poets of the Pteiade, and it is not surprising that it was utilized, at least to this com¬ 
paratively slight extent, by Cetina. The writer has had in hand the edition of 1546, which 
contains some additions and some suppressions compared with the original one of 1545. Prob¬ 
ably Cetina read here also Mozzarelli’s sonnet, Mentre i superbi tetti a parte a parte, which, 
as has been already stated, both he and Acufia translated. 

6 Gesualdo (d. about 1545) had the reputation of being a cultured and pleasing “rimatore,” 
and his comments on the canzoniere of Petrarch attracted favorable attention in his day. 



26 THE SOURCES OF THE POETRY OF GUTIERRE DE CET1NA 

O viva fiamma, o miei sospiri ardenti, 

0 miserabil duol, o spirti lassi, 

O pensier d’ogni speme ignudi e cassi, 

O strali nel mio cor fieri e pungenti; 

O bei desir de Thonorate menti, 

O vane imprese, o dolorosi passi, 

O selve, o piaggie, o fonti, o fiumi, o sassi, 

O spietata cagion de miei tormenti: 

O gloriosi allori, o verdi mirti, 

O luogo un tempo a me dolce e giocondo, 

Ove io gik sparsi dilettoso canto; 

O voi, leggiadri ed amorosi spirti, 

S’alcun vive qua giu nel basso mondo, 

Piet& vi prenda del mio acerbo pianto.* 

Cetina’s series of laments corresponds rather closely through¬ 
out to the above. He experiences the same burning pains, the 
same feelings of weariness, the same sentiment of the futility 
of his aspirations. The memory of past joys afflicts him doubly 
in the midst of present griefs, and in his extremity he summons 
the bright and happy spirits of love, if such there be, to hear 
his story and condole with him. 

Sonnet XXIV: 


iAy, vivo fuego! iAy, fiero pensamiento! 
iAy, rabioso dolor, pasos cansados! 
iAy, recelos de amor desesperados! 
iAy, triste, congojoso sentimiento! 

iAy, alto desear sin fundamento! 
iAy, vana empresa, llena de cuidados! 
iAy, rios, fuentes, selvas, bosques, prados! 
i Ay, esquiva ocasion de mi tormento! 

iAy, verdes huertas, arboles hermosos! 
iAy, lugar que ya fue ledo y jocundo, 

Do gastaba mi tiempo en dulce canto! 

Espiritus alegres y amorosos: 

Si alguno vive aca en el bajo mundo, 

Muevaos hora a piedad mi triste llanto. 

Another sonnet of Cetina is derived from one by Francesco 


i Rime Diverse, etc., ed. 1546, p. 32. 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


27 


Coccio 8 included in the same volume. Here the poet, over¬ 
whelmed by the scornful and disdainful attitude of his mistress 
compares his state to that of a fragile boat at the mercy of the 
ocean’s wind and waves. His sea is of tears, and the winds 
are his sighs. The cargo is grief. Disdain is at the helm and 
fury in the sails. The very sky above him is unpropitious, 
l.ke the elements, and only the God of Love can save him from 
cruel death. The Italian sonnet is as follows: 

Deh porgi mano a la mia fragil barca 
Amor, che combattuta dagli orgogli 
De la mia donna, fra i piu duri scogli 
De la sua crudelt4 solcando varca: 

Et da tal doglia e governata e carca 
D’un tal pensier, che s’ambedui non togli: 

In van m’agghiacci, accendi, leghi e sciogli, 

Che vuol morte del legno esser monarca. 

Sdegno regge il timon, furor la vela, 

Travaglio i remi, e gelosia le sarte, 

Le lagrime fanno onde, e i sospiri venti. 

Oscuro nembo di superbia cela 
Sua Stella, e solo scorge in ogni parte 
Pene, affanni, martir, fiamme, et tormenti. 9 

Cetina translated it faithfully, line by line. 

Sonnet CCX: 


Si no socorre Amor la fragil nave, 

Combatida de vientos orgullosos, 

Que entre bravos penascos peligrosos 
La hace entrar un fresco aire siiave, 

Tal carga de dolor lleva y tan grave 
De pensamientos tristes, congojosos, 

Que no pueden durar tan enojosos 
Dias, sin que el morir me desagrave. 

Desden rige el timon, furor la vela, 

8 Coccio is also known for his translation of Achilles Tatius’ romance of Clitophon and 
Leucippe, which was printed in Venice in 1560, 1563, and 1568, and in Florence in 1598 and 
1599, with the title: Achille Tatio dell’amore di Clitofonte dr Leucippe tradott. di lingua greca 
in Toscana da Fr. Angelo Coccio. See Lenglet du Fresnoy’s Bibliolhique des Romans, Vol. II, 
p. 7. 

» Rime Diverse, ed. 1546, p. 356. 



28 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


Trabajo el mastil y la escota el celo; 

Lagrimas hacen mar, suspiros, vientos. 

Nublado obscuro, la soberbia cela 
El norte mio, y solo veo en el cielo 
Pena, dolor, afan, rabia y tormentos. 

Trifone Gabriele 10 furnished the suggestion, and some of the 
wording, for another of Cetina’s sonnets. The composition 
of the Italian poet, appearing in the Rime Diverse ,“ has for its 
theme one that was very popular among the followers of Pe¬ 
trarch, namely, the return in a dream of the spirit of the departed 
lady to give to the lover consolation, which soon turns to despair. 

Gabriele: 

Tornava a ristorare il novo giorno 
La bella aurora; quando a gli occhi miei 
Si pose inanzi per mio duoi colei, 

Che nel mio cor far k sempre soggiorno: 

A farti del tuo mal qui certo torno, 

Dicea piangendo, che miei pochi, e rei 
Di spento ha morte, e’n un punto perdei 
Quante bellezze gi4 mi furo intorno. 

E quest’ e l’ombra mia, che qui t’assale 
Invece del bel corpo, che giu in terra 
Senz’ haver spirto in se freddo lasciai. 

Torna, misero amante, torna hormai: 

Che senza questo don non stia sotterra 
A lagrimar di me, quanto ti cale. 

Cetina addressed with this borrowed material the Prince of 
Ascoli, D. Luis de Leiva, in one of the ten sonnets which he 
directed to that nobleman. Instead of the shade of a dead 
mistress, however, it is apparently the spirit of the prince’s 
father (Antonio de Leiva, d. 1536) whom Cetina conjures up 
for the consolation and inspiration of the son. The Spanish 
sonnet offers more hope and comfort than its original. 

Cetina (XVII): 


10 Gabriele (1470-1549) was of a noble Venetian family, celebrated for his learning, and 
much admired and respected by the best contemporary men of letters. 

» Ed. 1546, p. 205. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


20 


A restaurar tornaba el nuevo dia 
La aurora, cuando el sueno le mostraba 
A1 pastor principal que nos guardaba 
La imagen que ya muerta en el vivia. 

Diciendo, aparte, que del alma mia 
Fuiste la que viviendo mas amaba, 

Del reino que en el trino aca esperaba 
(Por consolarte) el senor del me envfa. 

Cesen, pues, ya las lagrimas y el luto: 

<! A que sirve llamarme, si mi suerte 
Paso de grande a muy mayor estado? 

Alegrate, pastor, y con el fruto 
Del arbol mio, que corto la muerte, 

Consuela a ti y al espanol ganado. 

In the same collection {Rime Diverse, ed. 1546) 12 occurs Bembo’s 
sonnet in which he compares his mistress to Venus, Minerva, 
and Juno 13 : 

Se stata foste voi nel colle Ideo 
Tra le dive, che Pari a mirar hebbe; 

Venere gita lieta non sarebbe 

Del pregio, per cui Troia arse et cadeo. 

Et se '1 mondo v’havea con quei, che feo 
L’opra leggiadra, ond’ Arno e Sorga crebbe; 

Et egli a voi lo stil girato havrebbe, 

Ch’ eterna vita dar altrui poteo. 

Hor sete giunta a le mie basse rime, 

Povera vena, et suono humile a lato 
Belta si ricca, e ingegno si sublime. 

Tacer devrei; ma chi nel manco lato 
Mi sta, la man si dolce al cor’ imprime; 

Che per membrar del vostro oblio il mio stato. 

Cetina adapts the first quatrain of the above rather freely 
for the two quatrains of his sonnet CXXI, in order to make 
more adequate his expressions of admiration for the beauty 


« p. 10 . 

*3 Varchi treats the same theme in his sonnet Quando'l pastor di Troia nel colle Ideo ( Opere , 
1555, p. 98), as does also Della Casa in his sonnet La bella Greca, onde 7 pastor Ideo (Parnaso 
Italiano, Voi. XII, 1851, col. 1978.) 



30 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


of the Countess Laura Gonzaga. Instead of following Bemb 
however, in reference to Petrarch and insistence upon his own 
humility, he concludes his sonnet in the same strain as he began 
it, adding to the list of beautiful women outrivalled by his 
mistress Helen of Troy, as painted by Zeuxis for the temple of 
Juno. 

Sonnet CXXI: 

Laura, si cuando en la gran selva Idea 
Hizo el juicio aquel pastor troyano 
Donde a Venus fue dado el soberano 
Premio, a pesar de la una y otra dea, 

Fuerades vos, ante vos fuera fea 
La mas hermosa, y presumiera en vano 
Haber lo que es tan vuestro y que tan llano 
Confesara cualquier dama que os vea. 

Si Zeiisis de vos sola tomara 
Cuanto bueno entre mil tomar pudiera, 

Cuando en Croton la bella imagen hizo, 

Mas gracia, mas verdad, mas ser mostrara 
Y a Juno mas perfecta pareciera: 
iTanto el cielo de vos se satisfizo! 

Mention has been made of a translation by Cetina of Casti- 
glione’s sonnet Superbi Colli. Another sonnet of the same 
author, published in the Rime Diverse of 1546 , 14 also attracted 
the attention of the Spanish poet. Its theme is the familiar 
one, among Petrarchists as among other poets, of the bitter¬ 
ness of a present condition contrasting with the hope and glad¬ 
ness of the past. Dark fear has taken possession of the soul, 
threatening to make its pain eternal, and even if the old joy 
renascent returns, so much of the poison of inner grief remains 
that the song commenced is soon interrupted and broken with 
sighs and tears. 

Castiglione: 

Cantai, mentre nel cor lieto fioria 
De’ soavi pensier l’alma mia spene: 

Hor ch’ ella manca, e ogn’ hor crescon le pene, 


< P. 193. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


31 


Conversa e a lamentar la doglia mia. 

Che’l cor, ch’ ai dolci accenti aprir la via 
Solea, senza esperanza homai diviene 
D’amaro tosco albergo, onde conviene 
Che cio ch’ indi deriva, amaro sia. 

Cosl un fosco pensier 1’alma ha in governo, 

Che col freddo timor di e notte a canto, 

Di far minaccia il suo dolor eterno. 

Pero s’io provo aver l’antico canto, 

Tinta la voce dal veneno interno, 

Esce in rotti sospiri, e duro pianto. 

Cetina translated the above as follows (sonnet CXXXV): 

Mientra en mi la esperanza florecia, 

Alegre el corazon vivio cantando; 

Mas hora que el temor la va secando, 

Paso el tiempo en llorar la pena mia. 

Entonces de un pensar dulce vivia; 

Hora en pesar y en mas pesar pensando, 

En amargo dolor va transformando 
Cuanto antes dentro del de dulce habia. 

Ha tornado del alma mia gobierno 
Un triste recelar, que con espanto 
Amenaza hacer mi mal eterno. 

Por lo cual, si tal vez en dulce canto 
Me pruebo, sale del dolor interno 
Interrota la voz y envuelta en llanto. 

Cetina has, therefore, translated, not altogether slavishly, 
two sonnets by Castiglione. The following sonnet, also the 
work of the same illustrious Italian, describing the signs by which 
love may be recognized in the lover’s countenance and con¬ 
duct, seems to have suggested to Cetina his sonnet on the same 
subject: 

Se al veder nel mio volto or fiamma ardente, 

Or giu dagli occhi miei correr un fiume; 

E come or ghiaccio, or foco mi consume 
Mentre ch’ io sono a voi, donna, presenter 

Se al mirar fisso con le luci intente 
Sempre de' bei vostri occhi il dolce lume; 


32 THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 

Se al mio di sospirar lungo costume; 

Se al parlar rotto, e vaneggiar sovente; 

Se al tornar spesso, ond’ io spesso mi muovo, 

Perch* altri non conosca il pensier mio; 

Se al dolor, che da voi partendo i’ provo; 

Se agli occhi, ove si sa quel ch’ io desio, 

Voi non vedete il stato, ov’ io mi trovo, 

Qual mercede da voi sperar poss’ io?»s 

There is certainly much similarity to this in conception and 
development in Cetina’s sonnet CCI: 

Si el mudarse el color, si el alterarme, 

Si el subito alegrar y entristecerme, 

Si el irme de do estais y detenerme, 

Si el partirme de vos y no apartarme, 

Si aquel, viendoos airada, ardiendo helarme, 

Y en el hielo de olvido el encenderme, 

Si el huir de mi bien para perderme 

Y el procurar mi mal para ganarme, 

Indicios pueden dar si son, Senora, 

Pruebas del gran dolor que me atormenta, 
dPara que me tratais de esta manera? 

Si el alma de esta vida que os adora 
De vuestra vida vive y se alimenta, 
iPor que os mostrais, cuando me veis, tan fiera? 

Another sonnet of Cetina is an evident translation from 
Sannazaro. The latter poet, after bewailing the shortness of 
life, the inevitableness of death, and the total absence of hope, 
ascribes to his own weakness the blame and responsibility for 
all his trouble. Compare Sannazaro: 

Lasso, che ripensando al tempo breve 
Di questa vita languida e mortale, 

E, come con suoi colpi ogn’ hora assale 
La morte quei, che meno assalir deve; 

Divento quasi al sol tepida neve; 

Ne speme alcuna a consolar mi vale, 

Ch’ essendo in fin qui stato a spiegar l’ale, 


l i Poesie volgare e latine del conte Baldessar Castiglione, Roma, 1760, p. 27. 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


ii 


II volo homai per me sia tardo e greve. 

Pero s’io piango, e mi lamento spesso 
Di Fortuna, e d’Amore, e di Madonna, 

Non ho ragion, se non contra me stesso. 

Ch’ a guisa d’huom, che vaneggiando assonna, 

Me pasco d’ombre, e ho la morte appresso 
Ne penso c’ho a lassar la fragil gonna.* 6 

With Cetina (sonnet LIX): 

Cuando a contemplar vengo el curso breve 
Desta vida mortal, vana, ligera, 

Y como saltear airada y fiera 

Suele la muerte a aquel que morir debe, 

Viene el sentido a ser casi de nieve, 

Ante el sol del temor que desespera, 

Viendo cuan tarde y mal, ya que andar quiera, 

El mal uso a virtud los pasos mueve. 

Y es el mal que me quejo y muestro ceno 
De fortuna, de Amor, de mi Senora, 

Sabiendo que la culpa es toda rma: 

Que como hombre engolfado en dulce sueno, 

Me duermo sin pensar siquiera un hora 
Que siendo el morir cierto, ignoro el dia. 

Further evidence of Sannazaro’s influence upon Cetina’s 
verse is revealed in the third tercet of the latter’s sonnet C: 

Que en el arena esteril sembrar quiere, 

Y arar piensa en el agua con su mano, 

El que pone esperanza en hembra alguna. 

which is*a translation of verses 10-13 of the eighth egloga of 
Sannazaro’s Arcadia : 

Ne l’onda solca, e ne l’arena semina, 

E '1 vago vento spera in rete accogliere 
Chi sue speranze fonda en cor di femenina. 

There are other passages in Cetina’s poetry containing ideas 


16 Arcadia e Rime, edition of 1581, p. 15 



34 THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 

and wording similar to those last quoted. Notice, for example, 
in the epistola to don Jeronimo de Urrea: 

i Misero yo, que me ha cabido en suerte 
Arar el mar, sembrar en el arena, 

Cuyo fruto en llorar se me convierte! 1 * * 

Later we shall observe Cetina recognizing in Auzias March 
similar views of the inconstancy of womankind. Following 
him, he expresses certainty {cancion VIII, stanza I) that “hones- 
tidad” and “lealtad pura” do not exist “en animo de hembra 
a mudar presto,” and that he has done a stupid thing in looking 
for “firmeza do jamas firmeza dura.” We cannot, therefore, 
credit Sannazaro with being Cetina’s sole guide in the expres¬ 
sion of such sentiments, which are indeed inherently natural, 
however illogical, in a lover and poet. 

It will be remembered that Cetina’s capitulo I, Diga quien 
diga , y quien alaba alabe , l8 is an amplification of Ariosto’s elegia, 
Piaccia a cui place, e chi ledar vuol lodi, and that his cancion V, 
Cuando la noche en el partir del dia, 19 is a very close translation 
of the same poet’s canzone, Quando 7 sol parte, e Vombra il mondo 
cuopre. The following sonnet of Ariosto also found its way 
intact into the poetry of Cetina: 

Se senza fin son le cagion ch’ io v’ami, 

E sempre di voi pensi e in voi sospiri, 

Come volete, oime! ch’ io mi ritiri, 

E senza fin d’esser con voi non brami? 

Son la fronte, le ciglia, e quei legami 
Del mio cor, aurei crinji, e quei zaffiri 
De’ be’ vostri occhi, e lor soavi giri, 

Donna, per trarmi a voi tutti esca ed ami. 

Son di coralli, perle, avorio e latte, 

Di che fur labbra, denti, seno, e gola, 

Alle forme degli angeli ritratte; 


*» Obras de Gutierre de Cetina, Voi. II, pp. 39-40. 
*» Ibid., Voi. II, pp. 153-156. 

*9 Ibid., Voi. I, pp. 232-239. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


35 


Son del gir, dello star, d’ogni parole, 

D’ogni sguardo soave, in somma, fatte 
Le reti, onde a intricarsi il mio cor vola. 

Cetina recounts in identical sequence, though omitting most 
of Ariosto s second quatrain, the charms of his own beloved. 
Her angelic physical beauties are all so many nets by which 
his heart is inextricably ensnared. Ariosto’s third verse evi¬ 
dently impressed our poet strongly, for he made of part of it 
a sort of refrain which he placed in the third line of all of the 
four divisions of his sonnet. The Italian poem loses little, f if 
anything, in its Spanish dress. 

Sonnet CCXVI: 

Si tantas partes hay por vuestra parte 
Para que os ame y que por vos suspire, 
iComo quereis, mi bien, que me retire 
De tal empresa y que de amar me aparte? 

Si el cielo en sola vos muestra y reparte 
Tal gracia y tal verdad que el mundo admire, 
iComo quereis, mi bien, que el alma aspire 
A nueva hermosura, o con cual arte? 

Si son nieve, oro, perlas y corales 
Los cabellos, la boca, el cuello, el pecho, 
iComo quereis, mi bien, que no me encienda? 

Si vuestros modos, mas que naturales, 

Me tienen tan vencido y tan estrecho, 

<!C6mo quereis, mi bien, que me defienda? 

During the first half of the sixteenth century there appeared 
in Italy numerous collections of sonnets. Among the earliest 
of these were the Sylve of Marcello Philoxeno, dealing mainly 
with contemporary events, and especially with the Italian expe¬ 
ditions of Charles VIII and Louis XII of France at the end 
of the fifteenth century. This poet embodied in his work much 
of the beauty of his master Petrarch, and displayed little of 
the triviality and eroticism of which many of his contemporaries, 
followers of Petrarch, were guilty. Among his sonetti juvenili 
is the following: 


36 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


Se tienmi a te lontan fortuna altera, 

Amor per star rimedio al mio flagello, 

Gia nel mio cor te impresse; unde io son quello 
Cosi da te lontan qual vicin era. 

Tu sai quando se imprime ne la Cera 
Qualche figura per firmo sigillo, 

Ancor che non li stia vicin Tanello 
La stampa resta ognhor pura e sincera. 

Ma come puo Panel far piu figure, 

E la figura non ha tal effecto 

Che come impressa fu conven che dure. 

Cosi io a lei sola ognor resto suggetto 
Ne posso come tu mutar misure 
Unde poi star sicura ed io in suspecto . 10 

This conception of the power of the lady to create impres¬ 
sions upon the mind of her lover, which he is powerless there¬ 
after to alter, but which do not affect her capacity to create 
other impressions at will, and the resemblance of such a phenome¬ 
non to the stamping by hard metal of images upon the yielding 
and helpless wax, seems to have been an original one with 
Philoxeno . 21 Cetina appears to have had before him the above 
poem in the composition of the quatrains of his sonnet XXXII: 

Como de duro entalle una figura 
Con gran facilidad se imprime en cera, 

Y como queda siempre aquella entera 
Mientra que otra imprimir no se procura; 

Tal en mi alma vuestra hermosura 
Ha esculpido el amor cual en vos era, 

Y hala dejado siempre en la primera, 

Viendo que de algun otra no se cura. 

He concludes with a pleasing simile of his own invention: 

El cuerpo que a seguir al alma aspira, 

Por no haber parte en el de vos ajena, 

Muestra en si mil imagenes iguales: 

Como sala que esta de espejos llena, 

Que la imagen de aquel que en uno mira 
_ En todos muestra siempre unas senales. 

*° Sylve di Marcello Philoxeno, Tarvisino, poeta clarissimo, Venezia, 1516, No. 13, p. 96. 

" Philoxeno has the same figure in another of his sonnets in the same collection, beginning. 
Quando che'l conio imprompta sua figura, p. 214. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


37 


It was a current superstition during the Middle Ages, and 
even centuries later, that blood would gush from the wounds 
of a dead man if his murderer approached and looked upon him. 
Serafino Aquilano, with his customary tendency to emphasize 
the exaggerated and fantastical, makes use of this idea to explain 
the effect of the presence of his “diva” upon his own person, 
figuratively lifeless from despair: 

Un om che a mala morte ucciso sia 
Privato d’ogni spirto per molte ore, 

Sopravenendo al corpo el mal fattore 
Butta sangue la piaga come pria. 

Se questo en un che al viver non ha via 
Natura si li presta tal vigore, 

Che ancor che in lui non sia alcun vigore 
Che tal effetto pur possibil fia. 

Et io che vivo ancor morendo viva 
In me non fia possibil tal effetto 
Sopragiugnendo l’amica mia diva. 

Natural fu d’animo, e non difetto 
Mutarmi di color che ’1 cor bolliva 
D’amor, vedendo a chi mi fe’ suggetto.“ 

If Cetina adapted the above, as it seems reasonable to believe, 
in view of the fact that the figure involved has apparently 
not appeared elsewhere in Petrarchan poetry, his adaptation 
is at least very free. 

Sonnet LI 11: 


Cosa es cierta, Senora, y muy sabida, 

Aunque el secreto della esta encubierto, 

Que lanza de si sangre un cuerpo muerto, 

Si se pone a mirarlo el homicida. 

Asi yo (aunque estoy vivo) estoy sin vida, 

Siendo visto de vos, que me habeis muerto: 

Con mi sangre mostre lo que mas cierto 
Mostrais vos con mostraros desabrida. 

Pero si no fue asi, fue que corriendo 

** Le Rime di Serafino di Ciminelli dell'Aqutla, a cur a di Mario Menghini, Bologna, 1894, 
p 194. 



38 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


La sangre al corazon, para valelle, 

Por saliros a ver erro el camino; 

Salvo si no fue el alma, que, sintiendo 
Su agravio, asi ante vos quiso ponelle 
Con serial tan costoso y tan divino. 

Another probable source for Cetina in Italian poetry, which 
it seems well worth while to mention here, is found in a sonnet 
by Bernardino Rota (1509-1575). The latter’s poem relates 
how Actaeon, having accidentally caught a glimpse of Diana 
bathing in a fountain, was changed forthwith by her into a 
stag, and was torn to pieces by his own dogs as punishment. 
So, on beholding the more divine than human countenance 
of his lady, must the poet flee from his own avenging thoughts 
to inevitable doom through their agency. As the vulture upon 
Ticius, and the eagle upon Prometheus, so Love preys con¬ 
tinually upon him. 

Rota: 


Qual gi& colui que mal vide Diana 
Bagnar nel fonte, e volto en altra forma 
Fuggendo de’ suoi veltri il dente, e 1’ orma, 

Rimase preda lor misera, e strana; 

Tal, s’io veggio il bel viso oltra l’umana 
Condizion, ch’ in fera mi trasforma, 

Fuggo de’ pensier miei la crudel torma, 

Che mi segue, mi giunge, e prende, e sbrana: 

Ne perche d’ora in or m’impiaghe, e morda, 

Posso morir; che son’ ognor piu nova, 

Ma ben poch’ esca a si gran fame, e ria, 

Che vole il ciel, cui contrastar non giova, 

Ch’ io sia Tizio e Prometeo, e ch’ Amor sia 
Famelico avoltojo, aquila ingorda.»3 

Cetina reproduces exactly the same unusual guiding thought, 
though in different language. 


« Delle Poesie del Signor Bernardino Rota, Cavaliere Napoletano, Napoli, 1726, Vol. I, p. 52. 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


39 


Sonnet CXXXVIII : 

Mientras que de sus canes rodeado 
El misero Acteon seguro andaba, 

Mientras con mas amor los regalaba 
Por haberselos el mismo criado, 

Habiendo, por su mal, un dia mirado 
La beldad que a un fuente se banaba, 

De aquellos de quien el mas confiaba 
Se vio el triste, a la fin, despedazado. 

Tal obra hace en mi el pensamiento, 

Tan regalado mio y tan querido, 

Tan confiado yo de sus hazanas, 

Que en viendo la ocasion de mi tormento, 

Airado luego me ha desconocido 
Y asi me despedaza las entranas. 

That it occurred independently to both poets to make the 
same striking personal application of this mythological narra¬ 
tive, is most unlikely. It is, of course, possible that Cetina 
and Rota had access to a common original, but if so the writer 
has not found it, nor anything even remote'y like it. 

And finally may be mentioned two sonnets inspired by Luigi 
Tansillo, which were overlooked by Savj-Lopez and Mele in 
their studies of the Italian sources of Cetina. 

One of Tansillo’s sonnets treats the familiar theme that joyful 
days glide swiftly by, while those filled with anxiety and fears 
move with leaden feet: 

Passano i lieti di come baleni, 

E da mane precipitano a sera; 

E tanto Talma amareggiata e nera 
Lascian, quanto essi fur dolci e sereni. 

I tristi movon lenti; e mille freni 
Han Tore, che gli adducon dove assera: 

Par che il motor della seconda sfera 
Sproni quelli, e Saturno questi affreni. 

Mentre i begli occhi, ove t’annidi e veli, 

Amor, sin qui godea da presso, levi 
Correano quasi a gara il di e la notte. 


40 


THE SOURCES OF THE POETRY OF CUTIERRE DE CETINA 


Or, ch’ io piango lontan, le rote rotte 
Son d’ambo i carri; ne la state brevi 
Fa le sue lune, ne la bruma i soli.*« 

The quantrains were reproduced by Cetina in the following 
manner (sonnet CLXIII): 

Pasan tan presto los alegres dfas 
Volando sin parar apresurados, 

Y del perdido bien acompanados 
Llevan tras si las esperanzas mias; 

Mas los que traen las ansias, las porfias, 

Temor, recelos, bascas y cuidados, 

Estos pasan de espacio, tan pesados, 

Que parece que van por otras vias. 

The tercets of the Spanish sonnet, however, diverge quite 
widely from those of the Italian. Tansillo had said that, during 
absence from his beloved, night’s chariot wheels, as well as those 
of the day, were broken, causing them to move so slowly. 
Cetina asks why nature’s laws, in reality immutable, are so 
strangely unstable in his disordered fancy. Thus: 

Pues si no muda el sol su movimiento, 

Si regia cierta en sus caminos guarda, 

Si no se puede errar orden del cielo, 

Las horas enojosas del tormento 
iPor que tan luengas son? clComo se tarda? 

Y las alegres, iquien las lleva en vuelo? 

The other sonnet mentioned as derived from Tansillo is one 
in which the material is taken from a certain composition of 
that poet in octaves. In the latter the poet is represented as 
led by chance into a thick shaded forest of oaks, where lies a 
shepherd fatally wounded. His head rests against the bosom 
of his “ninfa,” who gives such passionate expression to her 
grief that the dying shepherd weeps in sorrow for her, rather 
than because of his own ill fortune. The second half of the 
poem runs: 


34 Poesie liriche edite ed inedile di Luigi Tansillo, con prefazione e note di F. Fiorentino, Napoli 
1882, p. 32. 



THE SOURCES OF THE POETRY OF GUTIERRE DE CET1NA 


41 


Con quel poco di spirto che gli avanza, 

Non mi duole il morir, dicea il pastore, 

Purche dopo la morte abbi speranza 
Di vivere alcun tempo nel tuo core: 

Dicea il pastore, come avra possanza 
Di vivere un de’ due, se l’altro more? 

S’io vivo nel tuo petto, e tu nel mio, 

Come, morendo tu, viver poss’ io? 

Mentre quella le piaghe va sciugando, 

E quel de’ suoi begli occhi il pianto beve, 

O caso troppo doloroso! quando 
Il ferito pastor pur morir deve, 

Veggio la bella ninfa andar mancando 
E cader morta; per finir in breve: 

Rimasero ambidue morti in quel suolo, 

Che 1’uno uccise il ferro, e l’altro il duolo. j * 

The Spanish nymph, who is Amarillida, our poet’s second, 
or at least not his first love, is described by Cetina as bewailing 
too late her past indifference to her faithful shepherd. The 
spirit of the two poems is visibly different, and the actual bor¬ 
rowing is very slight, but relationship is confirmed by two lines 
identical wording. Compare Cetina’s sonnet XLVI: 

Con aquel poco espiritu cansado 
Que queda al que el vivir le va dejando, 

En brazos de Amarillida llorando 
Vandalio, de salud desconfiado, 

“No me duele el morir desesperado 
—Dijo—pues con mi mal se va acabando; 

Mas dueleme que parto y no se cuando, 

Senora, habras dolor de mi cuidado.” 

La ninfa, que con lagrimas el pecho 
Del misero pastor todo banaba, 

"Sin premio no sera tu amor,”—decia. 

Mas el, puesto en el paso mas estrecho, 

Mucho mas que el morir pena le daba 
No poder ya gozar del bien que via. 


Ibid., pp. 185-186. 



42 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


The preceding pages of this chapter have presented five 
hitherto unmentioned translations by Cetina of sonnets by 
Andrea Gesualdo, Francesco Coccio, Ariosto, Castiglione, and 
Sannazaro, only two of whom, Ariosto and Castiglione, had 
been previously mentioned as sources for Cetina’s poetry. It 
has been seen also that Tansillo furnished inspiration for two 
sonnets, in addition to the six sonnets and three longer poems 
whose source in Tansillo’s verse had already been brought to 
our knowledge by Savj-Lopez and Mele; that one of Cetina’s 
sonnets was clearly inspired by Trifone Gabriele, and another 
by Bembo; and that probability is very strong, to the extent 
of one sonnet each, of influence by Marcello Philoxeno, Ber¬ 
nardino Rota, Serafino Aquilano and Castiglione. In the case 
of still another sonnet there was noted a slight additional trace 
of influence by Sannazaro. 

This study, therefore, although it contributes supplementary 
proofs of Cetina’s liking for the poetry of Tansillo, Ariosto 
and Castiglione among Petrarchists, does not show that he 
felt a decided preference for any Italian poet or group of poets. 
Its results merely go to support those obtained by other students 
of the work of Cetina, namely, that his verses present him to 
us as a care-free and impetuous young soldier who, subject 
only to the will of his sovereign and commander, lived as he 
pleased, loved as he pleased, and gathered materials for poetry 
where he pleased. 

That the sonnets which the present writer has been able to 
show were borrowed from Italian sources do not add greatly 
to our knowledge of Cetina’s literary tastes and interests, and 
that they are less numerous than might have been anticipated 
as a result of the careful study that has been made of them, 
is explained no doubt partly by the fact that Cetina, like Bos¬ 
ton, although glorifying things Italian, yet felt a closer spiritual 
kinship to a poet of his own country than to any of Italy. To 
the predominating intellectual influence of this poet upon 
Cetina will be devoted most of the remaining pages of this study. 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


43 


IV 

The Influence of Auzias March 

The works of the renowned Valencian poet, Auzias March, 
were extraordinarily popular in Spain about the middle of the 
sixteenth century. 1 

None of them, however, had appeared in print before 1539. 
In that year Baltasar de Romani, also of Valencia, published 
in that city a considerable part of the poems of March, which 
he divided into four canticas; namely, Cantica de Amor (con¬ 
taining twenty-six cants), Cantica moral (four cants), Cantica 
de muerte (eight cants), and Cantica spiritual (four cants). Fol¬ 
lowing each stanza of the Catalan is Romani’s translation into 
Castilian verse, 2 which reproduces the original in number of 
syllables to the line, number of lines to the stanza, and also, 
as far as possible, in rhyme-words. Such a translation was of 
necessity unsatisfactory from the point of view of literary art, 
but Fernando Folch de Cardona, Almirante de Ndpoles, was 
so impressed by the specimens here revealed of the work of 
March that he ordered search to be instituted for everything 
he had written. As a result of this order three copies of the 
dispersed (and in many cases practically lost) manuscripts of 
March’s poems were drawn up between the years 1540 and 
1543. 3 The first two of these were the work of Pere de Vilasald, 


1 For indications of March’s influence upon the work of many Castilian poets of the sixteenth 
and seventeenth centuries, see the work already frequently cited of Amedee Pages. Ausias 
March et ses Predicesseurs, Paris, 1912, pp. 408-422. 

a A copy of this rare book is in the library of the Hispanic Society of America. Its exact 
title is: Las obras del famosissimo philosopho y Poeta Mossen Osias Marco, cauallero Uadi / 
ciano de nacion Catalan / traduzidas por don Baltasar de Romani / y divididas en quatro Canticas: 
es a saber: / Cantica de Amor / Cantica moral / Cdtica de muerte / y Cantica spiritual. Dirigidas 
al excelentissimo sehor el duque de Calabria. Anno M. D. XXXIX (119 pages, two sides to the 

There is no textual evidence to prove that Cetina made any use of Romani s translations, 
which involve less than half of the total number of stanzas of March indicated in this study 
as inspiring verses of Cetina. 

j See Les Obres d'Auzias March, edicid critica per Amadeu Pages, Barcelona, 1912. 1914, 
Vol. I, pp. 60-64. 



44 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


a cleric who had little talent for such a task, and whose 
results were consequently incomplete and unsatisfactory. The 
third copy, however, made by one Luis Pedrol, who utilized the 
copies of Vilasalo, was apparently complete, and served to form 
the basis of the first edition properly so-called of March’s poetry, 
published in Barcelona in 1543 and reprinted there in 1545. 
Again in 1555 the poems were re-edited with amended text 
for the use of Castilians by Juan de Resa, chaplain of Philip 
the Second, and published in Valladolid. Still another edition, 
the last before the nineteenth century, was printed, again under 
the auspices of the Almirante de Napoles, in Barcelona in 1560. 4 
In the same year there appeared in Valencia the well-known 
translation by Montemayor, of which Lope de Vega’s criticism 5 
was unnecessarily severe, of ninety of the cants d'amor and 
six spar gas; and this was republished, accompanied by the 
Cantica moral , Cantica spiritual , and Cantica de muerte, of 
Romani’s translation, at Zaragoza in 1562 and at Madrid in 
1579. 

It is no part of the purpose of this study to discuss the poetic 
qualities of March, but certain facts in relation to his work 
may here be recalled. 

There is evidence that he knew the work of Petrarch, but 
almost none that he adapted any part of it to his own uses. 
Although both poets wrote chiefly of love, the theme that unites 
them in a sense to each other as well as to their hosts of imi¬ 
tators, their attitude toward life, and their consequent concep¬ 
tions of love, were altogether dissimilar. 

Petrarch was a humanist, a foe to the abstractions and aus¬ 
terities of medievalism which were the very breath of life to 
March. The latter was continually obsessed, at least as regards 
his poetic art, with the fear of death and the Judgment, a fear 
which did not disturb Petrarch. The Valencian passionately pro¬ 
claimed his theories of virtue and happiness, and the ascendancy 


* The title of Almirante de Ndpoles appears in the dedication of this edition to Folch de 
Cardona, along with those of Duque de Soma, Conde de Olivito y Palamos, and other titles 
belonging to the distinguished Catalan nobleman. 

s “Castissimos son aquellos versos que escriuid Ausias March en lengua Lemosina que tan 
mal y sin entenderlos Montemayor traduxo.” Hermosura de Angelica, Madrid, 1602 , fol. 338 v. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 45 

of that love which is purely of the spirit. Petrarch, as a humanist, 
did not occupy himself in his verses with these things. March’s 
mistress is a phantom woman, without clear outlines. Laura 
is presented to us as a creature of flesh and blood, with care¬ 
fully delineated physical charms. 

The Valencian poet, then, although living at the dawn of 
the Renaissance, was less modern in many respects than Petrarch, 
and was indeed, as the above characteristics indicate, thor¬ 
oughly imbued with the habits of thought of the Middle Ages 
and scholasticism. It was to be expected, therefore, that poets 
of the stirring times of the Renaissance, however much they 
might admire his subtleties and his metaphorical language, 
would not assimilate with any degree of completeness his actual 
ideas respecting life and love. This we find to have been the 
case. Spanish poets who imitated both March and Petrarch 
freely appropriated the substance of the former’s conceptions, 
and the figures of speech in which his work abounded, but 
applied them in a manner and taste thoroughly Petrarchan. 

It is a matter of common knowledge that Boscan, in much 
the same manner as he had introduced Italian meters, also 
introduced into Castile, at the beginning of the sixteenth century, 
the fashion of imitating and translating the work of Auzias 
March. He read the latter’s poetry in manuscript before it 
began to circulate in print, and communicated his enthusiasm 
for it to Garcilaso. The most admired by Boscan of all the 
cants d'amor was the first, the initial line of which, Axi com cell 
qui ’n lo somni’s delita , he placed as a title at the head of his 
manuscript of sonetos and canciones. No less than seven of 
his sonnets contain traces of the substance of this poem, 6 which 
describes the anguish occasioned by the memory of past joys 
in the midst of present forebodings and afflictions. Two other 
sonnets of Bosc&n are palpably derived from verses of March, 
and many other evidences of his admiration for the Valencian 
poet are scattered through his verses. It was Boscan who estab¬ 
lished a bond of union between Auzias March and modern 
Castilian poetry. 7 


6 PagSs, Ausias March et ses Predecesseurs, p. 410. 

t Ibid., p. 412. 



46 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


Garcilaso’s borrowings from March are less substantial by 
far than those of his friend, but to speak only of his sonnets, 
two, or perhaps three 8 of them, show evidence of the inspira¬ 
tion of the Catalan. One of these instances of borrowing in¬ 
volves words and thoughts utilized by Cetina, and will be men¬ 
tioned later in connection with the March-Cetina parallels. 
In general, it may be said that Garcilaso incorporated in his 
verses some thoughts and figures derived from March, but 
that he did so in a thoroughly independent manner, and pre¬ 
sented a finished work whose title to originality is almost wholly 
unimpaired by indebtedness to this source. So true is this 
that it is to be doubted, as Professor Keniston observes, 9 that 
Garcilaso was personally familiar with March’s work. The 
reminiscences of the Catalan poetry appearing in the verses 
of the Toledan may quite as well have been transmitted through 
Bosc&n. 

The influence of Boscan was quite sufficient to make of March 
an author “a la mode.” After him Spanish Petrarchists will 
hardly separate in their minds the Valencian poet from the 
Italians. Diego Hurtado de Mendoza, following in the path 
of Bosc&n and Garcilaso, was impressed by the same cant that 
had suggested seven sonnets to the former, and devoted three 
sonnets to glossing it. Two other cants of March furnish sub¬ 
stance and wording for two of Mendoza’s sonnets. One estancia 
is inspired by March, and scattered ideas from the same source 
are to be seen elsewhere in Mendoza’s poetry. 10 Luis de Le6n 
presents evidence in his verse of having studied the cants d'amor, 11 
and Fernando de Herrera’s poetry betrays a really pervasive 
influence of March, difficult to describe and to localize. Her¬ 
nando de Acuna, finally, to mention only the more prominent 


* Doubt has been expressed (Morel-Fatio, L’Espagne au XVle et au XVIIe siecle, Heil- 
bronn, 1878, p. 68) of Garcilaso’s authorship of the sonnet Amor, amor, un hdbito vesti, inspired 
by verses 25-28 of March’s cant LXXVII, No pot mostrar lo mon menyspietat. 

9 Garcilaso de la Vega, a critical study of his life and works, by Hayward Keniston, New York, 
Hispanic Society of America, 1922, p. 211. 

10 See Pages, Ausias March et ses Pridecesseurs, pp. 416-417. 

” Ibid., p. 418. 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


47 


of Cetina’s contemporaries, presents two sonnets clearly shown 
to be derived from the Valencian poet. 12 

Cetina’s indebtedness to Auzias March differs from that of 
other Spanish poets mainly in the fact of its incomparably 
greater extent. His borrowings begin, as Pages was the first 
to observe, 13 with the opening verses of the first cant d’amor. 

This poem, a favorite with Boscan and Mendoza, who as 
above noted, glossed it repeatedly, contrasts the poet’s present 
state of grief with the happy days when love with its torments 
was unknown to him. In connection with Cetina’s borrowing, 
the following verses of the Catalan may be quoted (1-8 and 
41-42): 

Axi com cell qui ’n lo somni’s delita 
e son delit de foil pensament ve, 
ne pren a mi que ’1 temps passat me te 
l’imaginar, qu’altre be no 'y abita. 

Sentint estar en aguayt ma dolor, 
sabent de cert qu’en ses mans he de jaure. 
temps d’avenir en negun be’m pot caure: 
go qu’es no res a mi es lo millor. . . . 

Plena de seny, quant amor es molt vella, 
absenga es lo verme que la gasta, . . .*« 

Cetina’s sonnet XCI is a free adaptation of these ideas: 

El triste recordar del bien pasado 
Me representa el alma a mi despecho, 

Y el pensar que paso me tiene hecho, 

De esperar que sera, desesperado. 

Ando de un no se que mal aquejado, 

Que me parece que me roe el pecho; 

Pienso que es desear, pero sospecho 
Que no da el desear tanto cuidado. 


« For one of these borrowings see Pages, Ausias March et ses Predecesseurs, p. 417; and for 
the other J. P. W. Crawford, Notes on the poetry of Hernando de Acufia, in Romanic Review , 
Vol. VII, 1916, p. 326. 

>3 Ausias March et ses Predecesseurs, p. 417. 

u All quotations from March are taken from Les Obres d'Auzias March, edici6 critica per 
Amadeu Pages, Institut d’Estudis Catalans, 2 vols., Barcelona, 1912 and 1914. 



48 THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 

Pues si no es desear, <Jque es lo que siento? 

Yo se que no es temor; tampoco es celo; 

Que no me da vuestro valor licencia. 

dSi es fuerza de amoroso pensamiento? 

No, que el pensar consigo trae consuelo. 

Mas iay! que ya se que es; no es sino ausencia. 

The fifth cant. cTamor recounts the efforts of the well-nigh 
despairing lover to conceal his passion, so that his mistress 
and he may be protected from slanderous tongues. The first 
stanza tells of the purifying and ennobling qualities of true 
love. 

Tant he amat que mon grosser enginy 
per gran treball de pensa es suptil. 

Lexant a part aquell sentiment vil 
qu’en jorn present los enamorats ciny, 
so tant sabent que se ben departir 
amor d’aquell desig no virtuos, 
car tot desig, retent horn congoxos, 
no's ver amor, ne per tal se deu dir. 

Cetina develops the same ideas almost literally in his sonnet 
CCXXV: 


Tanto tiempo he en amor perseverado, 
Que el flaco ingenio, rustico y grosero, 

Un pensamiento blando, a ratos fiero, 
Poco a poco lo ha hecho delicado. 

Y aquel sujeto vil, atras dejado, 

Que suele a un amador no verdadero 
Desviar de aquel bien puro y sincero, 

En los amantes de hoy tan poco usado. 

Ya se hacer de sabio diferencia 
Entre amor y un deseo que es lascivo; 

Se cuanto el uno mas que el otro vale. 

Mostradome ha mi mal por experiencia 
Que un triste desear fogoso, esquivo, 

No es amor, ni de amor nace ni sale. 


The weariness of life without hope is the ever-recurring 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


49 


refrain of the eleventh cant. Death is preferable, says March, 
verses 23-24, 

“car, si 1’om es a mals aparellat, 
la veu de Mort li es melodiosa.” 

Cetina amplifies March’s 44 lines into 162, without adding 
very much to the total impression conveyed by the Catalan. 
The greatest similarity exists in the opening verses of the two 
compositions: 

Cant XI, verses 1-8, 

Quins tan segurs consells vas encerquant, 

Cor malastruch, enfastijat de viure, 
amich de plor e desamich de riure? 

Com soferras los mals qui’t son davant? 

Acuyta’t donchs a la Mort qui t’espera, 
e per tos mals te allongues los jorns, 
aytant es luny ton delitds sojorns. 

Com vols fugir de la Mort falaguera? 1 * 

Cetina, cancion X, verses 1-13, 

<!Que conciertos inciertos vas buscando, 

Corazon temeroso? 

Si estas ya del vivir tan enfadado, 

Si estas ya tan sujeto a la tristeza, 

Si los males te van asi apretando, 

Y el dolor tan rabioso, 

iComo piensas salir de tal cuidado? 

Si la muerte no humilla su fiereza, 

iNo miras que es bajeza 

Querer vivir el que en miseria vive? 

Lo que en mi alma escribe 

La mano del sentido, en mal tan fuerte, 

Haz que pueda leerse con mi muerte. 


's Garcilaso’s sonnet IV contains the following verses, derived from this stanza: 
iQui4n sufrira tan aspera mudanza 
Del bien al mal? I O corazon cansadolj 
Esfuerza en la miser ia de tu estado. . . . 

See Pages, Ausias March et ses Predecesseurs, p. 412. 



50 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


From March’s cant XV Cetina has drawn two sonnets. From 
the first four lines of the first stanza, 

Si pres grans mals un be’m ser& guardat, 

Mos guays e plants debts se convertran: 
apres los mals los bens mellors parran, 
e be no val tant com no es preat. 

Rey pot ser dit lo pobre dins sa pensa 
per un petit do que ’1 sia offert, 
e, lo rich horn, de larguesa desert, 
gran suma d’or pobretat no ’1 defensa. 

he composed his sonnet CCXVII, keeping more logically than 
March to a single unifying idea: 

Si tras de tan to mal me esta guardado 
Alghn bien de que estoy tan fuera agora, 

Aun espero por vos cantar, Senora, 

Con estilo mas alto que he llorado. 

Entonces sera el bien mas estimado, 

Por no haber del jamas sabido un hora, 

Cual madre que por muerto al hijo llora, 

Se alegra en verlo vivo a si tornado. 

Entonces contare de la tormenta, 

Seguro de zozobras en el puerto, 

Y placerame la pasada afrenta. 

Desterrare al dolor, que sin concierto 
Me suele fatigar, do nunca sienta 
Nueva, ni sepa del si es vivo o muerto. 

The other sonnet that is derived from this cant corresponds 
exactly to verses 17-24: 

Si com lo sol escalf’ ab sa calor 
totes les parts que son dejus lo cell, 
escalf’ Amor cascun cor de bon zel, 
sino ’1 de vos qui es pie de fredor. 

D’on ve lo gla$, qui tanta fredor porta, 
ffaent contrast al calt que Amor gita? 

Los ermitans fa surtir de l'ermita: 
los grans debts s’entren per esta porta. 


Cetina utilizes all but the last two verses in his sonnet XXXIII 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


51 


Como el calor de la celeste esfera 
Calienta y vivifica y da consuelo, 

Cuanto hay elementado aca en el suelo, 

Arbol, planta, animal, flor, hierba o fiera; 

Asf, Senora, Amor de esta manera 
Los pechos arde de amoroso celo, 

Si no es el vuestro, que por ser de hielo, 

De mal tan general se queda fuera. 

Pero si el sol al mayor hielo ofende, 

Lo consume y deshace como vemos, 

El vuestro ante mi ardor, <!quien lo defiende? 

Y si ambos de su ardor nos defendemos, 

£Como se hiela en vos y en mi se enciende? 

<!Caben en un sujeto dos extremos? 

In cant XXVII the substance of the song is that the lover 
is never free from torment. The cause of his suffering lies either 
in the intensity of his desire, or in his fear of betraying to the 
lady his passion. (Verses 1-8): 

Sobresdolor m’a tolt Tlmaginar; 

1’Enteniment no’s dol, ni’s pot esbatre. 

Aytant esdolc que 1’ha calgut abatre, 
e mon affany, plorant, no’s pot mostrar. 

No trob remey, car ma dolor es tanta 
que mon Voler en parts ne tinch partit, 
n'en sol un loch lo’m trobe ahunit, 
sino ’n morir e viure que’s decanta. 

Compare the adaptation of Cetina (sonnet CCXXXV),"who 
endeavors to utilize all the eight lines of the stanza, and adds 
a final tercet which is his own: 

Un temor me destruye el pensamiento, 

Siendo solo el pensar cuanto bien tengo: 

Mi mal no es grave; mas, por ser mas luengo, 

Miedo es el que me acaba el sufrimiento. 

Cuando esta mas caido el sentimiento, 

Cuando mas desvalido a sus pies vengo, 

Pensando me sustento y me entretengo; 

Que no cupo otra gloria en mi tormento. 


52 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


iAy Dios, que nuevo mal tan sin remedio, 

Que ni la voluntad siento partida, 

Ni esta, salvo en morir, entera en cosa! 

Senora, ique hare? : dad vos remedio. 

Acabame el dolor luego la vida, 

Y no me llega prenda tan preciosa. 

The alternating hopes and doubts of the lover, who is afraid 
to declare himself, and yet is fearful of the consequences of 
his silence, form the basis of a number of other sonnets and 
longer poems by Cetina. The idea seems to have been inspired 
by the reading of March. 

Another sonnet derived from the same cant (XXVII) is not 
less faithful to its original. Compare verses 33-40 of the Catalan: 

Ma Voluntat, ab qu’ en la mar fuy mes, 
fallida es, e pogra ’m fer ajuda! 

Ja ma Raho de son loch es cayguda; 
mos pensaments contraris m’an ates. 

Ja mos desigs no saben elegir 
vida ne mort, qual es la millor triha. 

Natura ’n mi usa de maestria, 
e pren la mort, per major dan fugir. 

with Cetina’s sonnet LXVII: 

De aquella voluntad que a mi tormento 
Pudo entregarme asi tan de su grado, 

No puedo en nada ya ser ayudado, 

Ni en mi favor ni como mia la siento. 

Perdio razon su acostumbrado asiento, 

Que el nuevo mal nueva razon me ha dado, 

Y en tanta confusion solo ha quedado 
Por verdugo del alma el pensamiento. 

Tampoco me quedo libre el deseo 
Que entre vida y morir busca y no acierta 
De cual se agrada mas, cual me conviene. 

Pensad cual debo estar; ved cual me veo, 

Que el morir, por entrar, corre a la puerta 

Y el vivir, por salir, se lo detiene. 

Cetina’s sonnet CLX is a free adaptation of the first stanza 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


53 


of cant d'amor XXVIII. The first four verses of the stanza 
furnish the material for the quatrains, and the last four for 
the tercets. Compare: 

Lo jorn ha por de perdre sa claror, 
com ve la nit qu’ espandeix ses tenebres. 

Pochs animals no cloen les palpebres 
e los malalts crexen de 11 ur dolor. 

Los malfactors volgren tot l’any duras 
per que llurs mals haguessen cobriment, 
mas yo, qui visch menys de par en turment 
e sens mal fer, volgra que tost passas. 

Padre se llama al sol de la alegria; 

A mi la vista del mas me entristece; 

Apenas alejandose anochece, 

Cuando muero por ver venido el dia. 

Todo cuanto en la tierra el cielo cria 
Reposa con la noche; en mi parece 
Que con fuerza mayor a la par crece 
Tambien la obscuridad del alma mia. 

Y si del que mal hace es deseada, 

Que luz ver no querria en todo el ano, 
l Por cual razon a mi me desagrada? 

Que demas de tratar de dia mi dano, 

En la noche, al descanso aparejada, 

Soy mas cierto ministro de mi engano. 

In cant XXXIII, Sens lo desig de cosa desonesta, March pro¬ 
claims the purity of his love, and asserts that its inexhaustible 
source lies in the spirit. Cetina’s attention appears to have 
been fixed mainly on verses 25-32: 

Si com lo foch creix la sua flamada, 
quant li son dats molts fusts per que ’Is aflam, 
e ladonchs creix, e mostra major fam, 
com pot sorbir cosa que ’1 sia dada: 
ne pren a mi, car ma voluntat creix 
per los desigs presentats en ma penssa, 
e, remoguts, seria ’1 fer offenssa, 
car d’altra part ma voluntat no's peix. 


54 


THE SOURCES OF THE POETRY OF GUTIERRE DE CET1NA 


He reproduces the figure and the sentiments of this stanza ? 
but in reverse order (sonnet LXX): 

De la contemplacion del pensamiento 
Crece la voluntad mi fantasia; 

Del dulce imaginar del alma mia 
Hace el Amor en mi firme cimiento. 

Del pensar nace en mi el contentamiento 
Que da mas viva fuerza a mi porfia; 

Tanto mi desear las alas cria 
Cuanto nacen de mas conocimiento. 

Las partes que de vos este alma entiende, 

Mientra que mas las voy considerando, 

Mayor ardor al corazon envio; 

Como el fuego, que tanto mas se enciende 
Cuanto mas lena en el iran echando: 
iVed, pues, si es inmortal el fuego mio! 

Cant XXXVII furnished to Cetina material for no less than 
three sonnets. In this composition the poet blames himself 
because? he has not revealed his passion to his lady, and with 
the consequent sentiment of shame there is mingled also the 
pain of unrequited love. In this pain, however, the poet con¬ 
trives to see a certain foundation, or condition of happiness. 
Cetina’s sonnets VII and CLXXXIV seem to have been written 
without hope of future favors. Compare March, verses 1-8, 

La mia por d’alguna causa mou, 
per be que ’1 juy se meta ’n bon esper. 

Mon sentiment, profeta verdader, 
de bon penssar mon penssament remou. 

Que es ago que’m veda tot repos? 

E lo dormir la congoxa no'm tol, 
e ma raho cuyda morir per dol, 
com en remey james donar ha clos. 

with Cetina (sonnet VII), 

—Amor: ide donde nace un tan gran miedo? 
iSoy causa yo deste temor que siento? 
i Por que no piensa el bien mi pensamiento 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


55 


Ni de recelar mal tirarlo puedo? 

iQue es esto que me quita el vivir ledo 
Como salia cuando mas contento? 

Si me quita el descanso el sentimiento, 
dQuien me quita el esfuerzo y el denuedo? 

Estas congojas y estas bascas tales, 

£De que proceden? dSon por aventura 
En los otros amantes desta suerte? 

—Si, respondio el Amor, tu desventura; 

Que ni pueden hallar medio tus males, 

Ni en tus males hallar medio la muerte. 

and March, verses 9-16, 

Dolor me puny que 'm don' al cor gran mos, 
ne causa veig de l'avenidor dan: 
mon esperit es mal prenostican, 
generalment, qu’ especial no '1 pos. 

Quant me despert, me sembla que'm desperta 
una dolor, ab agut punyiment. 

Ffamiliar e tant est penssament, 

que '1 dan vinent ja tinch per cosa certa. 

with Cetina (sonnet CLXXXIV), 

Remorder de dolor el alma siento 
Mil veces un temor de cosa incierta; 

Un nuevo sobresalto en mi despierta 
De venidero dano el sentimiento. 

i O desaventurado pensamiento, 

Tan pronto siempre a abrir al mal la puerta! 

<!No basta que al entrar la halle abierta, 

Sin que entre antes el miedo que el tormento? 

Si por desdicha duermo, a despertarme, 

Helado, sin color, llega el recelo, 

Pronosticando alg(in inconveniente. 

Y es tan familiar en visitarme, 

Que tengo, porque asi lo ordena el cielo, 

Siempre el mal por venir ya por presente. 

In his sonnet CCXXXIX, also taken from the above, Cetina 
experiences with March a revulsion of feeling in regard to his 


56 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


relations with his mistress, disclaims the belief that injury 
can come from her, absolves her from all blame, and even glories 
in his affliction, for pain after all is sweet. March, verses 41-48: 

James dire que siau lo mal meu, 
car tot lo mal yo prench en molt gran be. 

Si mon amich del meu mal semblant te, 
yo per son be volgr’ abans fos en creu. 

Amor me fa lo carrech sostenir; 
yo ’1 malahesch, si per null temps me fall: 
e, si mon cors pert virtut per treball, 
no li don mort per son mal no finir. 

Cetina’s sonnet is derived chiefly from the first line of this 
stanza, and is not a slavish reproduction: 

Vos sois todo mi bien, vos lo habeis sido; 

Si he dicho alguna vez, Senora mia, 

Que habeis sido mi mal, no lo entendia, 

Hablaba con pasion o sin sentido. 

Yo soy todo mi mal; yo lo he querido: 

De mi viene, en mi nace, en mi se cria, 

Tan satisfecha del mi fantasia, 

Que el mal no piensa haber bien merecido. 

Vos fuistes, vos sereis mi buena suerte: 

Si el mal desvariar me hace alcuanto, 

Esta es mi voluntad libre y postrera. 

Pues si con verme al punto de la muerte, 

Por ser por vos, el mal lo tengo en tanto, 
iVed que hiciera el bien si lo tuviera! 

Compare also with the last two lines of Cetina’s sonnet verses 
35-36 of the same cant (XXXVII) of March: 

Yo am lo dan vengut per vos amar, 
penssar deveu quant mes lo beniffet. 

An example of close translation by Cetina is presented in 
cant XLVIII, Ab vos me pot Amor ben esmenar, verses 9-16: 

Si cossa fos lauger’ a comportar 
que yo de vos hagues tal vantament 
que'm pogues dir esser vostre servent, 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


57 


lo nom sens pus me bast’ a contentar. 

Tal me pareu que, si de ferm vos mir, 
lo meu desig roman tan alterat 
que no vol res del que ha desijat, 
ne del present, ne del que pot vemr. 

Compare Cetina’s sonnet CCVIII: 

Si no fuese juzgado atrevimiento, 

Si vuestra criieldad lo comportase 
Que vuestro servidor llamarme osase, 

De solo el nombre viviria contento. 

Tal os pinta en mi alma el pensamiento, 

Que no os mire jamas que no juzgase 
Temeridad el bien que desease; 

Y de tal desvario me arrepiento. 

Enojome de haber mas deseado, 

Y acusando a mi mismo mi locura, 

De cuanto desee no quiero nada. 

Solo en veros consiste mi ventura; 

Todo lo porvenir me desagrada; 

El bien presente es mas que el mal pasado. 

Pages noted the relationship of cant LVII, verses 1-8, to 
Cetina’s sonnet CCXXVII.' 6 The lines are included here for 
reference. March: 

Por de pijor a molts fa pendre mort 
per esquivar mal esdevenidor: 
si be la mort ressembl’ a cas pijor, 
cell qui la pren la te per bona sort; 
e de ago Cato mostr& cami, 
e li mes nom hus de la libertat, 
car de tot als pot horn esser forgat, 
sino ’n morir qu’ es en lo franch juhi. 

Cetina recites the same conception of voluntary death offer¬ 
ing the means of escape from greater evils, and ingeniously 
makes personal application of it in his final verses: 

it Ausias March et ses Predecesseurs, p. 417. 



58 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


Temor de mayor mal a algunos suele 
Hacer correr a voluntaria muerte, 

Pensando asi excusar dolor mas fuerte, 

Si bien mas que el morir ninguno duele. 

Hizo Caton que su memoria vuele, 

Y el nombre a tal morir muda y pervierte; 

Uso de libertad llama a su suerte, 

Y muestra que con el la se consuele. 

Si nuestra religion lo permitiera, 

Como aquella gentil, que solamente 
De un hermoso morir tuvo cuidado, 

Yo se por menos mal lo que hiciera; 

Que salvo a no morir siendoos ausente, 

En todo puedo ser de vos forzado. 

Both Hazanas y la Rua and Pages, 17 independently of each 
other, called attention to Cetina’s translation of cant LIX, 
verses 1-8, in which the Valencian poet introduces one of his 
lugubrious similes involving sickness and death. March: 

Si col malalt que ’1 metge lo fa cert 
que no’s pot fer que de la mort escap, 
si donchs no beu de veri un anap, 
e lo perill no li esta cubert, 
ne pren a mi, qui vull esperiment 
molt perillos, e sens ell no pusch viure; 
lo dilatar per mort se pot escriure, 
e tern l’assaig ab la mort egualment. 

Cetina (sonnet XXXVII): 

Como enfermo a quien ya medico cierto 
Dice que ha de morir si no se bebe 
Un vaso de ponzona, y no se atreve, 

Siendole el dano de ello descubierto, 

Teme, si dura el mal, que ha de ser muerto 
Antes que el medio peligroso pruebe, 

Y si para proballo al fin se mueve 
Esta de su salud tambien incierto. 

A tal termino, Amor, soy allegado, 

17 Obras de Gutierre de Cetina, Vol. I, p. 39; Ausias March et ses PredecesseuTs, p. 417. 



THE SOURL ES OF THE POETRY OF CUTIERRE DE CET1NA 


59 


Que me mata el temor, y el desengano 
Me tiene de la muerte temeroso. 

Pensar venir en duda es excusado; 

Y habiendo de pasar por el un dano 
De entrambos igualmente estoy dudoso. 

For the material of another sonnet Cetina selected verses 
49-56 of cant LXII, Qui 'm mostrara la Fortuna loar: 

M’oppinio es en mon cor escrita 
que, sino vos, als no la m’en pot raure. 

Vos me podeu en tota 'rror fer caure, 
puys que Amor forgar-mi se delita, 
e tant desig que si’ amat per vos 
que m’es format duptar que axi sia. 

Amor me fa de veritat falsia: 
no bast’ en pus qu’ en esser sospitos. 

Cetina amplifies March’s lines and varies them slightly, 
omitting the idea that great desire brings with it inevitable 
doubt, and adding the thought, implied, it is true, in the Catalan, 
of his mistress’s (sonnet CIV) irresistible beauty: 

Esta en mi alma mi opinion escrita 
Con tal fuerza de amor, tan bien guardada, 

Que si de vuestra sana no es borrada, 

A la par con la vida en ella habita. 

Bien me podeis vos dar pena infinita: 

Amor os da el poder como le agrada; 

Mas excusar que no seais amada 

De mi, con tal beldad, <iquien me lo quita? 

Aborrecerme vos podeis, Senora, 

Afecto tan contrario al ardor mio, 

Y aun desear me, si quereis, la muerte; 

Mas que no os ame esta alma que os adora, 

Ni vos ni vuestra sana, yo lo fio, 

Podeis borrar lo que me cupo en suerte. 

Two stanzas of cant LXIV are included in substance in Cetina’s 
sonnet XC. lS March, verses 1-16: 

Both Hazafias y la Rua and Pages noted this fact. See Obras de Gutierre de Cetina, Vol. 
I, p. 81; and Ausias March et ses Predecesseurs, p. 417. 



60 


THE SOURCES OF THE POETRY OF CUT1ERRE DE CETINA 


Lo temps es tal que tot animal brut 
requer amor, cascfi trobant son par. 

Lo cervo brau sent en lo bosch bramar, 
e son ferm bram per dolg cant es tengut. 

Agrons e corps han melodia tanta 
que llur semblant delitant enamora. 

Lo rossinyol de tal cas s’ entrenyora, 
si lo seu cant sa ’namorada ’spanta, 

E donchs, si’m dolch, lo dolrre m’es degut 
com veig amats menys de poder amar; 
e lo grosser per apte veig passar: 

Amor lo fa esser no conegut. 

E d’agd’m ve piadosa complanta 
com Desamor exorba ma ssenyora, 
no conexent lo servent qui l’adora, 
ne vol penssar qual es s’amor ne quanta. 

Cetina’s rendering of these ideas is not quite a translation: 

El tiempo es tal, que cualquier fiera agora 
Ama su igual y por el llora o canta; 

Muestra el ciervo en bramar fiereza tanta, 

Mas a la cierva es dulce y la enamora. 

La ronca voz del ciervo de hora en hora 
Cualquier dureza de su par quebranta, 

Y el triste ruisenor su amiga espanta, 

Por lo cual se lamenta, aflige y llora. 

Si yo me quejo, la razon me sobra; 

Pues ni tener respeto al ser constante 
Vale, ni tanto amor a ser amado. 

Amor lo hace y muestra bien ser obra 
Suya hacer que valga un ignorante 
Dichoso mas que un cuerdo desdichado. 

Cant LXV recites the struggle between “Ira” and “Amor” 
within the afflicted lover’s breast. His only hope of salvation 
lies in finding some one else to whom to transfer his affections. 
He thinks with pleasure that perhaps old age will permit him 
to escape from love’s dominion. 

In the first stanza the poet is so fearful that he does not 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 61 

even dare to ask of pain a respite, so that he may have time to 
lament, but hopes that if his anxiety ever ceases, and strength 
returns to his languishing heart, his sufferings will be properly 
appreciated. Thus: 

No so gosat en demanar merce 
a ma dolor que del tot m’abandon: 
un poch espay la prech de temps que 'm don 
a poder dir lo mal que d’ella’m ve; 
e, si mon cor en sa forga retorn 
y el torbament de l’enteniment pert, 
por& saber qui d’amor no es cert 
Ira y Amor com dins mi han contorn. 

Cetina identified these metaphysical musings as expressions 
of his own perturbed mental state. Sonnet LXXIII: 

Del dulce fuego que en el pecho me arde 
No se c6mo decir que estoy quejoso, 

Ni en medio del ardor fiero, rabioso, 

Se de quien fie, ni de quien me guarde. 

Contra la ley de Amor soy tan cobarde, 

Que aun al mismo dolor pedir no oso 
Tanto tiempo de venia y de reposo, 

Que me pueda quejar, aunque es ya tarde, 

Pero si, a dicha, alcanzo tanta suerte, 

Que la turbacion pierda del sentido, 

Y al corazon torna el valor osado, 

Alin espero, Senora, que el sonido 
Del triste lamentar podra moverte 
A piedad de haberme maltratado. 

Thus, as frequently, Cetina borrowed ideas from March, 
and clothed them in different language. Closer verbal similarity 
is found in his adaptation of other verses of cant LXV, in which 
he gives a personal turn to March’s abstractions. March, 
verses 7-16, and 33-40: 


por& saber qui d’amor no es cert 
Ira y Amor com dins me han contorn. 


62 


THE SOURCES OF THE POETRY OF CUT1ERRE DE CET1NA 


Si°com 1’om cech no coneix nit ne jorn, 
si dels vehents ell no es avisat, 
d’Ira y Amor no sse qual m’a ssobrat: 
haja ’n avis dels qui m’estan en torn! 

Yo desig molt qu'Amor m'abandonas, 
car sola es la causa de mon mal, 
mas de poder Yra no te cabal 
qu ’ encontr' Amor yo tant me rebellas. 

Plagues a Deu qu’ab mi mateix fes pau, 
mi accordant ab cor ferm a la mort! 

Yo mir e pens si ’1 mon ha cas tan fort, 
com de Amor e d'Ira sser esclau. 

Afany te sats Tom dos senyors sirvent, 
e quant mes donchs essent ells enemichs; 
quant hu complach, l’altr’ es vers mi inichs: 
no sse com bast complaure '11s egualment. 

Cetina, sonnet CXIX: 

Ira y Amor me estdn dentro del pecho, 

Y cada cual me causa un mal extrano. 

El Amor fue principio del engano; 

Despues, del mismo Amor nacio el despecho. 

Deseo aborrecer por mi provecho , 

Vis to que del Amor me viene el daho; 

Mas no basta la ira en mal tamaho 
El nudo deshacer que Amor ha hecho. 

Ira me mueve a ser vuestro enemigo 

Y muestrame razon porque lo sea; 

Mas l que vale, si Amor a amar me tira? 

Y asi, mientras los dos tratan conmigo, 

Es fuerza que la triste alma se vea 
Siendo esclava de Amor sujeta de ira. 

Cetina appears to have shared March’s obsession of fear 
of disease and death, and this seems to have determined his 
choice of a stanza as the basis for his sonnet L. 

Cant LXVI, Algii no pot haver en si poder , verses 25-32: 

Si col malalt de viure te ferman^a 
per alguns mals que familiars te, 
si algun mal d'altr' accident li ve, 


THE SOURCES OF THE POETRY OF GUTIERRE DE CET1NA 


63 


en por de mort l’imaginar lo langa, 
ne pren a mi que m’era ja no res 
lo mal d’Arnor, vivint sobre aquell, 
e, per mal nou, a morir vinch per ell, 
per no ser tal e com molt major es. 

It will be noticed that in his version Cetina reverses the 
order, in describing the resemblance of physical suffering to the 
anguish of love: 

Contento con el mal de amor vivfa, 

Habiendo el alma en 61 habito hecho; 

Su dano principal ni su provecho 
No me alteraba ya ni lo sentfa. 

Hora ha querido la desdicha mfa 
Con otro nuevo mal herirme el pecho; 

Este me desbarata y me ha deshecho, 

Mientras menos del otro me temia. 

Como enfermo que esta ya confiado 
Que no puede morir de un mal que tiene, 

Por haberse en el uso asi guardado, 

Cualquier nuevo accidente que le viene 
Diferente de aquel que habia pensado, 

Le hace recelar mas que conviene. 

Amed6e Pages first noted that Cetina’s second madrigal 
in the edition of Hazanas y la Rua was derived from cant LXIX. 19 
The two poets are here quoted in order to afford an opportunity 
for comparison. 

Clar es e molt a tots los amadors, verses 41-56: 

No trob en mi poder dir ma tristor, 
e de ago n’ensurt un gran debat: 

Lo meu Cor diu que no n’es enculpat, 
car del parlar la Lengua n’e senyor. 

La Lengua diu qu’ ella be ho dir&, 
mas que la por del Cor for^a li to), 
que sens profit esta, com parlar vol, 
e, si ho fa, que balbucitar&. 


Ausias March et ses Predicesseurs, p. 417. 



64 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


Per esta por vana la penssa ’st4 
sens dar consell per execucio. 

No es senyor en tal cas la Raho; 
l’orgue del cors desbaratat est&. 

La ma no pot suplir en lo seu cas, 
mou-se lo peu no sabent lo perque; 
tremolament per tots los membres ve, 
per que la sanch acorre al pus lias. 

Cetina’s adaptation follows the same order of arrangement. 
The first seventeen lines are from the first stanza above, and 
the remaining part, except the last three lines, which are his 
own and add little, from the second stanza: 


i Ay, que contraste fiero, 

Senora, hay entre el alma y los sentidos, 
Por decir que os dolais de los gemidos! 
Ninguno de ellos osa: 

Cada cual se acobarda y se le excusa 
Al alma deseosa, 

Que de su turbacion la lengua acusa. 

Ella dice confusa 
Que os dira el dolor mio, 

Si la deja el temor de algun desvio; 

Pero de un miedo frio 

La cansa el corazon, y de turbada, 

Cuando algo va a decir, no dice nada. 

Al corazon no agrada 
La excusa, y dice que es della la mengua; 
Que el quejarse es efecto de la lengua 
El uno al otro amengua; 

El vano pensamiento 

No sabe dar consejo al desaliento. 

La razon sierva siento, 

Que solia un tiempo entre ellos ser senora 
Y el esfuerzo enflaquece de hora en hora. 
La mano no usa agora 
Del medio que solia; 

Que el temor la acobarda y la desvia. 

La sangre corre fria 
A la parte mas flaca, y, de turbado, 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


65 


El triste cuerpo tiembla, y suda helado. 
iAy, rabioso cuidado! 

Pues si el alma contrasta a los sentidos, 
dQuien dira que os dolais de mis gemidos? 

The first stanza of cant LXXV was freely translated by 
Cetina in his sonnet LVIII: 

Qui es aquell qui en Amor contemple, 
com yo qui sent sos debts on abasten? 

Qui son aquells qui dolg’ amargor tasten, 
e, juntes mans, l’adoren fora temple? 

Yo so tot sol a qui Natura 'streny 
a no poder als fer ne pus entendre 
sino amar; e, volent m'en defendre, 
no'm vol seguir a res als fer null seny. 

dCual hombre fue jam&s tan sin sentido, 

Que si entiende de Amor el dulce estado, 

Viendo en claros ejemplos Io pasado 
Quiera seguir su bando o su partido? 

Yo solo soy a quien el hado ha sido 
Tan contrario, que siendo destinado 
A amar, sabiendo el dano, soy forzado 
Quedar si me defiendo al fin vencido. 

Si trabajo tal vez por alegrarme, 

Como cosa contraria al mal que siento, 

Luego se ve lo falso descubierto; 

Si en otro que en Amor quiero ocuparme, 

El habito que ha hecho el pensamiento 
Hace lo mas dudoso en mi mas cierto. 

The third stanza of cant LXXVIII, No guart avant ne membre 
lo passat, suited one of the brighter moods of our poet. 

Mon pensament es en vos mes qu’ en mi, 
e mon debt per vos passa primer. 

James aquell ans que vos yo senti, 
ma voluntat a mi troba derrer. 

Yo son content, si veig contenta vos, 
e tant en mi aquest desig es gran 
que '1 sentiment es perdut de mon cos, 
fins que '1 voler vostre’s va sadollan. 


66 THE SOURCES OF THE POETRY OF CUTIERRE DE CETINA 

Amplification of the terse Catalan, we may believe, was not 
difficult for Cetina: (sonnet CCXXIII), 

Tan puesto tengo en vos el pensamiento, 

Que ya ni pienso en mi, ni pensar quiero. 

Si tengo bien, por vos pasa primero; 

De vos viene, si tengo algun tormento. 

Hace mi voluntad su fundamento 
En la vuestra, y recibela por fuero: 

En mi propio querer soy el postrero: 

S61o lo que quereis quiero y consiento. 

Si alegre os veo a vos, luego me alegro; 

Si tristeza teneis, luego estoy triste; 

Si os volveis a alegrar, vuelvo a alegrarme. 

Lo negro es bianco y lo mks bianco es negro, 

Como quereis: luego el alma viste 
El afecto que vos quereis mostrarme. 

Auzias March often draws upon experiences at sea, and the 
perils of the sailor, and Cetina does likewise in some eight son¬ 
nets. The following is, however, the only clear case of borrow¬ 
ing. Compare cant LXXXI, Sparta: 

Axi com cell qui’s veu prop de la mort, 
corrent mal temps, perillant en la mar, 
e veu lo loch on se pot restaurar, 
e no ’y ateny per sa malvada sort, 
ne pren a me, qui vaig affanys passant, 
e veig a vos bastant mos mals delir. 

Desesperat de mos desigs complir, 
ire pel mon vostr’ ergull recitant. 

with Cetina’s free translation (sonnet LII): 

Corre con tempestad furiosa y fuerte 
El mas cuerdo piloto, el mas experto, 

Y en viendo cerca el deseado puerto, 

El miedo en esperanza se convierte; 

Mas queriendo surgir la mala suerte, 

Los torna con extrano desconcierto; 

Sale un viento cruel, contrario, incierto, 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


67 


Que atras lo vuelve a recelar la muerte. 

Asf yo, en la fortuna del deseo, 

A vos vengo, que sois el puerto mio, 

Donde de tanto mal pienso salvarme; 

Mas iay, hado criiel! que apena os veo 
Cuando el contrario viento de un desvio 
Hace que en el dolor vuelva a engolfarme. 

Cant LXXXVII, Tot entenent amador me entenga , discusses 
at length the three kinds of love: the carnal, the natural, which 
is of the spirit as well as of the flesh, and the purely spiritual 
or celestial. The last, the ideal love, women disdain, according 
to March. Cetina, less interested than his model in intellectual 
subtleties, and more concerned with the expression of his own 
personal feelings and experiences, selected only one stanza 
(verses 131-140) from this poem: 

Per nostres ulls Tom d’est’ amor s’enflama, 
toch desijant d’on voler creix o fina; 
temprat esper la voluntat afina, 
e, perdut ell, Amor de Mort se clama 
son fill e net, son desig y esperanga! 

Mas prop los ve Paor qui ’11s fa gran brega. 

Tals passions amador no les nega. 

Aquest’ amor cau en esta balanga. 

Cascu d’aquests a l’altre vencre tenta, 
e, si ’u compleix, Amor e si destenta. 

His rendering of the ideas of the stanza amounts almost to 
translation: (sonnet CLXX), 

Por los ojos Amor entra y derrama 
En el alma un ardor que la enflaquece; 

El ansia del gozar fuego parece; 

Templada obstinacion su fuerza trama. 

De un hijo que Amor tiene, el cual se llama 
Deseo, la Esperanza nace y crece; 

Mas contra el hijo y nieta el hado ofrece 
Un bastardo temor que los desama. 

El fin que amor pretende es ser amado; 

Temor, que ningun bien del padre alcanza, 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


Viene contra los dos acompanado 

De enojos, de sospechas, de mudanza, 

Desden, ingratitud, celos, cuidado, 

Armado de mortal desconfianza. 

A stanza from cant LXXXVIII, Malament viu qui delit pert 
de mure , found its way in substance into the poetry of Cetina. 
Compare verses 41-48: 

Encontr’ amor vostre cor a ’rmadura 
e per tots temps ab la ratio’s consella. 

Si no amau, no es gran maravella, 
car poc’ amor no viu on seny atura. 

Si passions d’amor dins vos jutgassen, 
fosseu del seny quantsevol consellada. 

La voluntat de dona 'namorada 
no troba frens aquella refrenassen. 

with Cetina’s sonnet CXCV: 

Si contra Amor, Senora, estais armada 
De aquel frio saber que amor contiende, 

Si os guia la razon, si ella os defiende, 

No es gran caso no estar enamorada. 

De poco amor Amor se desagrada; 

No puede Amor crecer do el seso entiende; 

Si el juicio gobierna, Amor se ofende; 

Do no hay pasi6n, Amor no puede nada. 

Pero si permitiese el hado mio, 

Cosa que podria ser, que amor hallase 
Entrada en ese pecho de diamante, 

A pagar de mi alma aquel desio, 

En blando consentir se transformase: 

£Qu6 freno hay que tener pueda un amante? 

It will be observed, in comparing the last lines of these ver¬ 
sions, that Cetina has transferred to the lover—or to himself 
—the possession of unbridled love. March occasionally repre¬ 
sents women as the tempters of men; not so Cetina, who prefers 
to think of them always as sought after by more or less despair¬ 
ing lovers, and never as actually seeking love themselves. 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


69 


The cant following next in order, LXXXIX, Cervo ferit no 
desija la font, furnished to Cetina the material for two sonnets. 
The first of these is plainly from the stanza including verses 
33-36: 

Noves de vos saber mortal ment tem, 
dubtant-me fort que no 'y mostreu amor. 

Per no saber visch en altra dolor. 

No sse de qual costat guart que no ’m crem. 

Cetina’s tercets, developing verse 36 above, may have been 
suggested by personal experiences in the army. Sonnet 
CLXXXV: 

Sabe Dios si saber de vos deseo, 

Y temolo saber mas que la muerte: 

Ved, Senora, cual es mi mala suerte; 

De que contrarios tormentar me veo. 

De no saber de vos tal mal poseo, 

Que en fiera rabia el desear convierte; 

Y por no saber nunca en que no acierte, 

El triste desear huyo y rodeo. 

Asi, el que ve la nave irse abrasando, 

Estando dentro en ella en la batalla, 

Modo para salvarse anda buscando; 

Mas doquiera que va, su muerte halla: 

El enemigo, el contrastar nadando, 

Y en la nave ella viene sin buscalla. 

The second sonnet (CXCVI) inspired by this cant derives 
its origin from verses 49-56: 

Si tant de vos com voleu no confiu, 
mon gran voler me porta 'n aquest zel. 

De vostre cors no tem lo pus prim pel 
qu’ encontra mi res fes, ne’m fos altiu. 

La voluntat vull que pas tota ’n mi: 
yo so cel6s, si molt amau a Deu. 

Dant vos debt sens mi, lo mal creix meu; 
quant vos dolgues, de mal vostre’m dolguf. 

Cetina makes use of all of this stanza, including the assertion 
that he is jealous even of the love of his mistress for God: 


70 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


Si de amor y de vos tan poco fio, 

Del amor y de vos nace este celo: 

De vuestra honestidad nada recelo; 

Menor es contra vos mi desvario. 

Que vuestra voluntad me de un desvio 
Hace que tema Amor; del nace un celo 
Tal, que vengo a temer si amais al cielo. 
i Ved hasta donde llega el miedo mio! 

Jamas tuve de vos una sospecha, 

Ya que tenella cierta es imposible, 

Ni cosa desee que otros desean. 

Que con mi voluntad la vuestra estrecha 
Estuviese deseo, y, si es posible, 

Tan juntas que las dos un alma sean. 

Cant XCI, En aquell temps senti d'Amor delit } deals with the 
unstable nature of love, whose strength, indeed, lies in the very 
struggles and vicissitudes it brings. Cetina’s sonnet XLI is 
a composite of ideas occurring in the following verses of this 
cant : 25-32, 

Si com lo jorn va primer que la nit, 
e d’ella es hun cert demostrament, 
va lo debt d’Amor primerament; 
dolor apres no ’1 vol haver jaquit, 
havent poder de tota res delir 
que ab sa llet dolga debt nodrf: 
tot go que naix debt ho consent! 
e corromp ssi per estrem dolorir. 

17-24, 

Lo desijat pier se volta ’n despit. 

No te loch ferm d’Amor lo sentiment; 
sos torns e vist assats complidament, 
e veig aquell de mil colors vestit. 

Detras ell va continuu penedir: 
tal seguidor no ’1 viu, mentre ’1 segui. 

Ab los ulls cluchs detras sos peus anf, 
guiant m’en part on tart pogui exir. 

65-68, 

Tot mudament es verament fallit 
e d’Amor es lo seu sosteniment, 
car de rres Torn no pot esser content, 
si 'n hun estat Amor lo t6 ’stablit. . . . 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


71 


Cetina: 

Como la obscura noche al claro dia 
Sigue con inefable movimiento, 

Asi sigue al contento el descontento 
De amor, y a la tristeza la alegria. 

Sigue al breve gozar luenga porfia; 

Al dulce imaginar sigue el tormento, 

Y al alcanzado bien el sentimiento 
Del perdido favor que lo desvia. 

De contrarios est& su fuerza hecha, 

Sus tormentas he visto y sus bonanzas 

Y nada puedo ver que me castigue. 

Ya se qu§ es lo que dana y aprovecha: 

Mas, icomo excusari tantas mudanzas 
Quien ciego tras un ciego a ciegas sigue? 

Verses 73-80 of March’s cant XCIII, Qui ser ’ aquell del mon 
superior , repeat his never-ending theme of joy in pain. This 
time it is the thought of his lost love in which both good and 
ill are mingled. The remembrance of past joys is more endur¬ 
ing than that of sorrows, and therefore his tears do not flow 
forever. 

E, si tots temps en continuu no plor, 
de mon recort aquella no'm partesch, 
ans vull que '1 dol me leixque, si ’1 jaquesch: 
mon sentiment vull que muyra, si mor. 

Puys que del it a ma dolor segueix, 
ingrat sere, si ella no m’acost: 
tal sentiment de mal e be compost, 
temps minva ’1 mal, e lo be tots jorns creix. 

There can be no doubt of the connection between the above 
and sonnet CXLVI of Cetina: 

No es falta de dolor faltarme el llanto, 

Antes dulce memoria enamorada; 

Que mientras contemplando est& ocupada, 

Del usado llorar se deja al cuanto. 

Estoy deste mi mal pagado tanto, 

Por la gloria que entre 61 viene mezclada, 

Que mi propio sentir me desagrada 


72 


THE SOURCES OF THE POETRY OF GUTIERRE DE CET1NA 


Si la fuerza del mal le causa espanto. 

Asf viene el dolor a adelgazarse; 

Asi el mal se transforma y se enajena, 

Y hace que del Uanto el uso pierda. 

Mas iquien podra, senor, desagradarse 
Del mal que tanto bien causa y ordena, 

Ni llorar mientra en el piensa y se acuerda? 

Instances have before been indicated (pp. 28 and 30) of 
Cetina’s use of borrowed material to adorn his style in sonnets 
addressed to historical personages. Another such instance 
may be observed in his sonnet LXIV to D. Juan de Rojas Sar- 
miento. March wrote, cant XCIV, Puys me trob sol en amor , 
a mi semala , verses 25-32: 

Axi com For que de la mena '1 traen 
est& mesclat de altres metal Is sutzeus, 
e, mes al foch, en fum se 'n va la liga, 
lexant Tor pur, no podent-se corrompre; 
axl la Mort mon voler gros termena: 
aquell fermat en la part contrassemble 
d’aquella que la Mort al mon l’a tolta, 
l’onest voler en mi roman sens mescla. 

Cetina takes the first four lines, and discards the rest as not 
suited to his purpose: 

Cuando oro bajo y de grosera mina 
Suete hallar tal vez minero experto, 

Si con otro metal sale cubierto 
Al fuego lo consagra y lo destina; 

Alii se purifica, alii se afina, 

AIM descubre su valor mds cierto; 

Si del acaso esta dudoso, incierto, 

El fuego lo quilata y determina. 

Yo, que, a pesar de Febo y de Parnaso, 

De Helicona halle, no digo vena, 

Mas cierto humor peor que de locura, 

Para saber si debo dar mas paso 
En seguilla, o dejar tan loca pena, 

Consagro al fuego vuestro esta escritura. 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


73 


It is seen that he completes the simile in a fashion totally 
different from that employed by his model; and it will no 
doubt be agreed that he has made such a clever adaptation of 
the borrowed idea as almost to legitimize his use of it. 

The last two instances above of borrowing are from cants 
in which March laments the death of his lady. No such theme, 
of course, was in Cetina’s mind during the composition of either 
of these poems. They do, however, maintain the serious spirit 
of their originals, and they are obvious illustrations of our 
poet’s habit of ornamenting his language with borrowed ideas 
that appealed to him from whatever source they might be de¬ 
rived. 

Cant XCIX, Aquesta es perdurable dolor , is unquestionably 
the source of Cetina’s sonnet CLXXVIII. Compare verses 
33-40 of the former, 

On cab en mi tan gran alterament, 
si por me pren per qu’ esperanga’m vol? 

Que es ago que voluntat me tol 

qu’ en be ne mal no hus d’enteniment? 

O fals Amor, qui ’1 loch vedat te plau, 
lexa m’usar a qui’m mereix desdeny. 

Per que ’1 desig teu amar me costreny 
go que amar a mi tant me desplau? 

with Cetina’s adaptation: 

<JQu6 alteracion es esta, Amor, que siento? 

<!De donde viene en mi tan gran mudanza? 

Si muero de temor, esta esperanza 
Que tengo, dsobre que funda su asiento? 

Si no quiero mi mal, ni lo consiento, 
l Por que tengo del bien desconfianza? 

Si el uso de razon el seso alcanza, 

<!C6mo se ciega asi el entendimiento? 

Y si una mutacidn tan repentina 
Natura la aborrece, <!c6mo vivo? 

Un sujeto tan flaco, ien que se esfuerza? 

Mas iay! que pues tormenta tan contina 
No se amansa, es serial que el hado esquivo 
Quiere mostrar en mi toda su fuerza. 


74 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


To express his love for Amarillida, Cetina again borrows from 
March. The latter had written in his cant Cl I, Qual ser ’ aquell 
que fora si matrix, verses 137-144: 

Foch crem ma earn, e lo ftim per ensens 
vaj’ als dampnats per condigne perfum! 

Mon espirit trespas de Lete *1 Hum 

per que de res de aquest mon no pens, 

car, per haver del it, dolor atench, 

puys ne vull mes que lo toch no'm promet! 

Passant avant, mon delit es desfet, 
e pas dolor fins que aquell restrench. 

Cetina applies the first four lines to the formation of his 
first quatrain, and upon the latter builds the remainder of his 
sonnet (CIX): 

Fuego queme mi carne y por incienso 
Baje el humo a las almas del infierno; 

Pase la mia aquel olvido eterno 

De Lethe, por que pierda el bien que pienso. 

El fiero ardor, que ora me abrasa intenso, 

Ni melle corazon ni haga tierno; 

Niegueme pi'edad, favor, gobierno, 

El mundo, Amor, y el sumo Dios inmenso. 

Mi vivir sea enojoso y trabajado, 

En estrecha prision dura y forzosa, 

Siempre de libertad desesperado. 

Si viviendo no espero ya ver cosa 
—Dijo Vandalio—y con verdad jurado 
Que sea cual Amarillida hermosa. 

The same cant at another point (verses 153-160) furnishes 
the basis for another of Cetina’s sonnets. Compare 

Tot quant yo pens me porta passions, 
e sens penssar poch delit s’aconsech: 

Menys que d’un bou lo meu delit conech, 
car mentre ’1 prench lo’m torben passions. 

Car tant com es plaent e de mon punt, 
d’aquell delit una dolor m’en ve, 
penssant qu’ en tal ab l’altr’ ella vengue, 
e que ’y vendr&, si no li so ajunt. 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


75 


with Cetina’s version, amplifying the stanza to the proportions 
of a sonnet (LXV): 

Cuanto pienso me da dolor doblado; 

Ningfin pensar me da contentamiento; 

Ni fuera de pensar deleite siento, 

Ni se entenderme a mi ni a mi cuidado. 

Entre mi mal el bien viene mezclado; 

Ni lo se conocer, ni tomar tiento; 

Que en gustando del bien el sentimiento, 

O se convierte en mal, o ya es pasado. 

En medio del deleite llega luego 
El recelo del mal, considerando 
Que es un tal bien un poco de agua al fuego. 

Asi el monstruo marino esta llorando 
Mientra el cielo y el mar muestran sosiego, 

De futura tormenta recelando. 

We next find a source for Cetina in cant CVIII, No *m clam 
d'algti qu } en mon mal haja colpa. Verses 81-88 of that compo¬ 
sition are as follows: 

Pus facilment yo crech que Thom atengua 
tolrre's desig qu' en aquel metre terme. 

Qual es aquel qu’ en loch llenegant ferme 
son peu, que tost en terra no s' estengua? 

Donchs, qui d’Amor segurament vol viure, 
los mouiments ab fermes rahons tolga; 
e, qui d'agb no es bastant, s’estolga: 
mes prop li es lo plorar que lo riure. 

Cetina (sonnet CXXX) adapts these lines to his specific 
purpose, removing their sentiments somewhat from the realm 
of abstraction: 

Mas facil es, Senora, el abstenerse 
De desear, a un hombre enamorado, 

Que despues que algun tiempo ha deseado 
Medida al desear pueda ponerse. 

Puede uno rehusar, puede tenerse 
De no entrar en lugar que viere helado; 

Mas si una vez entro, despues de entrado, 


76 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


No es en el esperar ni detenerse. 

Bien pudiera no os ver cuando no os via; 

No viendoos, no os amara; y no os amando, 

No deseara el bien que hora deseo. 

Mas despues de sujeta el alma mia, 

Amor que me sostiene deseando 
No consiente poner freno al deseo. 

Cant CIX furnishes matter for another sonnet. The initial 
stanza of the Catalan, 

Dona, si ’us am, no’m graescau amor; 
aquella part de que yo so format. 

Grahiu a Deu qui ’us ha tal cors forjat 
que altre cors no bast’ a sa valor, 
bell, ab gran gest, portant un espirit 
tan amplament que no ’1 te presoner, 
mas com senyor usant de son poder, 
tenint estret davall si l’apetit. 

is, in its central theme, the source of the two quatrains of Cetina’s 
sonnet CCXI: 


Si os amo, si os he amado, si he de amaros 
Mas que es o fue mujer ni sera amada, 

No me lo agredezcais: ni os pido nada, 

Ni vale el ardor mio para obligaros. 

Aquel que tantas partes quiso daros 
Cubiertas de beldad tan extremada, 

A solo aquel podeis ser obligada, 

Que puso tanto en vos para adoraros. 

No puedo yo llamarme en esto a engano: 

Muy claro vi el camino de perderme, 

Tanto, que agora me parece extrano. 

Lo que vos no podeis negar de verme 
Es que entendi al principio el desengano 
Y no quise, aunque pude, defenderme. 

Next is an obvious translation of verses 17-24 of March’s 
La so atbs d’on so volgut fugir (cant CX): 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


77 


Si col senglar que devala del munt 
pells cans petits qui no '1 hasten matar, 
e babe’ al pla on veu alans estar: 
vol e no pot tornar del pla 'n amunt, 
ne pren a mi qui, per fogir mal poch, 
caych en les mans de dolor sens remey, 
perpetual, sens mudar esta ley, 
ans crexer& com en loch dispost foch. 

Cetina adapts as follows (sonnet CXVI): 

Huyendo baja el monte aquella fiera 
Que de pequenos canes es seguida, 

Y apenas en lo llano ya es venida, 

Que no puede volver donde partiera, 

En otros da mayores, do cualquiera 
La aprieta y le podria quitar la vida; 

De 6stos es peligrosa la salida; 

De otros sin peligro se saliera. 

Asi, huyendo de los viejos males, 
Pequenos en respecto a los de ahora, 

En otros mas crueles he caldo, 

Y tanto en el peligro desiguales, 

Cuanto siendo por vos estoy, Senora, 
Cierto de no volver donde he salido. 

March wrote, cant CXV, verses 1-10: 

Puys me penit, senyal es cert que baste 
per a saber Terror de que'm vull tolrre: 
mas qui'm dar& esforg contra lo dolrre, 
per a jaquir lo delit que yo 'n taste? 

Per ma raho yo vengui 'n conexenga 
qu' en ser amat no’m calia fer compte, 
mas ab Amor yo n’e fet ja Tafronte: 
complidament he vist la ’sperienga. 

La mi’ amor un’ altr' a si no 'n tira: 
lo dret d'Amor en mi tot se regira. 

Cetina translated (sonnet CXI): 

Gran serial es el ver que me arrepiento, 
Para pensar que ya conozco el dano; 


78 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


Pues me quiero apartar de un mal tamano, 
Serial es que lo entiendo y que lo siento. 

Mas <lquien me dara, Amor, atrevimiento? 
iQuien me dara un esfuerzo tan extrano, 

Que aquel gesto sabroso del engano 
Pueda desarraigar del sentimiento? 

Tanta luz de razon razon me ha dado, 

Que conozco el error y el desvario 
Del que pretende amando ser amado. 

Mas tiene tanta fuerza el ardor mlo, 

Que aunque conozco bien que voy errado, 
Del camino que voy no me desvio. 

The second stanza of March’s poem continues: 

Puys altr’ amor per la mia no guanye, 
la qual es preu per hon Amor se guanya, 
per ser vencent no sabi altra manya: 
perdut es ja tot quant per ell affanye. 

Si com aquell qui viu ab medicina 
e ve per temps que no li val al viure, 
axi muyr yo, qu’ Amor, qui ’m feya viure, 
altre voler per lo meu no s’inclina. 

Puys no pot fer que amant amat sia, 
lexe-m ’en pau; no torb la vida mia. 

Cetina’s adaptation runs (sonnet XII): 

Amor, si por amar amor aquista, 

Si alguna fe de tanta fe procede, 

Si premio por servir ganar se puede, 

Si un grave padecer mi alma contrista; 

Si dura obstinacion vencio conquista, 

Si pidiendo merced dureza cede, 

Si a grande mal piedad se le concede, 

Si a luengo importunar no hay quien resista; 

Si de tu mano escrito ya en la frente 
Lo que siento en el alma al mundo muestro, 
Debria mi dolor hallar remedio. 

Mas iay! ni podra ser, ni lo consiente 
Mi mal, si por algun caso siniestro 
No muestra a tu pesar fortuna el medio. 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


79 


There was also material for Cetina in the following cant 
(CXVI), Cert es de mi que no me ’n cal fer compte. The verses 
chosen are 131-140: 

Axi com es en nos l’anima tota 
en tot lo cos, e tota 'n cascun membre; 
tallant algu, no cal per ago tembre 
que per aquell ella romanga rota: 
la mi' amor es en lo tot d'aquesta, 
e, si '1 veig res que per desalt m’altere, 
no sent en mi que d’amor despodere. 

En lo seu tot la mia tota resta, 
si com la mar un punt no se 'n altera, 
si horn ne trau una gran albufera. 

Cetina clearly translates (sonnet XXXIX): 

Como esta el alma a nuestra carne unida, 

En los miembros las partes igualmente, 

Y como cada miembro el alma siente 
Entera en si y en todas repartida, 

Y como si una parte es dividida 
Del cuerpo por algtin inconveniente, 

El alma queda entera y tan potente 
Cual siempre, sin que pueda ser partida, 

Asi el amor en mi no se acrecienta 
Por mas favor, ni cuanto mis padece 
El triste corazon muda el estado. 

Muestrase Amor en mi como tormenta 
De mar, que cuando mas con furia crece, 

Su termino no pasa limitado. 

The next comparison concerns Cetina’s cancion VIII, sug¬ 
gestions for which lie evidently in March’s cant CXVII. Cetina 
has not translated, nor even consecutively followed the Catalan 
poem, but seems to have leaned upon March here and there 
for support, re-reading perhaps his original when inspiration 
failed. Especially to be noted are the two following “ rap¬ 
prochements,” which appear convincing without further testi¬ 
mony. 


80 


THE SOURCES OF THE POETRY OF GUTIERRE DE CET1NA 


March, verses 1-6: 

Lo cinquen peu del molto ab gran cura 
yo he cercat, e no ’n te sino quatre, 
volenc’ honest’ en amor desonesta, 
e lealtat en cor de falsa fembra; 
e per amor he volgut ser alegre 
menys de sser trist, e ferm en un proposit. . . . 

Cetina, verses 1-14: 

Lo que buscaba tengo; 

Y si no lo buscaba ni queria, 

Tengo lo que merece aquel que busca; 

Lo que hora ni a buscar ni a querer vengo. 

No me quejo de amor; que no seria 
Razon, pues su pasi6n el seso ofusca; 

De mi si, que, de mozo y de liviano, 

En corazdn mal sano 

Buscaba el mio salud, y en deshonesto 

Amor, honestidad, lealtad pura 

En animo de hembra a mudar presto. 

Estaba en llorar puesto 
Firmeza do jamas firmeza dura: 
iVed si llegaba a puesto mi locura! 

March, verses 17-20: 

L’engan conech, mas per obra no ’1 mostre, 
puys que d’amor del tot yo no’m despulle. 

Flux me penit, car dolor no m’agreuja: 
solament bast ahirar-mi, si ame. . . . 

Cetina, verses 15-24: 

Ya entiendo el dano mio; 

Ya conozco, aunque tarde, el desengano 

Y no muestro entendello, aunque lo entiendo; 

Pues ni me salgo del ni me desvio. 

No es este arrepentir conforme al dano, 

Pues que ni huyo del, ni me defiendo, 

Ni puedo mas hacer, salvo enojarme, 

Porque amar, desamarme, 

Llegar alguna vez a arrepentirme, 

Y aun casi a aborrecer, masi que aprovecha, . . . 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


81 


Coming now finally to cant CXXIII, Mentre d'Amor senti 
sa passid , we find the last important case of borrowing from 
March by Cetina that the present writer has noted. The stanza 
is the first of the poem: 

Mentre d’Amor senti sa passio; 
d’ell no hagui algun coneximent. 

Quant he perdut d’aquell lo sentiment, 
yo bast* assats donar d’ell gran raho. 

Per son esguart he vist sa qualitat, 
e com d’onest te poch e profitos, 
e com est& ’n l’apetit cobejos, 
e de Tiros com s’en ampra format. 

Cetina’s sonnet is quite similar both in thought and wording. 
He inserts, however, the saving expression of his belief that 
love “Ni puede ser del todo detestable” and asserts that “No es 
poco bien quedar escarmentado.” Sonnet CLIII: 

No puede un corazon apasionado 
Claro tener de Amor conocimiento; 

Mas si la pasion cesa, el sentimiento 
Puede bien hablar del como avisado. 

Yo se decir quien es: que lo he probado; 

Toda su calidad entiendo y siento, 

Y si artero no soy del escarmiento, 

No es poco bien quedar escarmentado. 

Jamas vi amor honesto o provechoso, 

Ni puede ser del todo detestable 
Naciendo de apetito codicioso; 

Porque si la esperanza no es estable, 

Si el trabajo es mas cierto que el reposo, 

<!Que deleite dara que sea durable? 


82 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


V 

Conclusion 

It has now been shown that the poetic work of Auzias March 
is the source of no less than thirty-five sonnets and two caucioues 
of Cetina, in addition to four sonnets and a madrigal previously 
identified by Hazanas y la Rua and Pages as inspired by March s 
verses. We thus have before us the remarkable total of thirty- 
nine sonnets, two cancioncs , and a madrigal from the Catalan, 
as against twenty-four sonnets, 1 two canciones , a capitulo, a 
madrigal, two estancias and a sextina (these last of little 
importance) from the Italian. 2 

In the matter of formal imitation Cetina followed the Italians, 
and not March, not alone as regards the technical details of 
metrical structure, but also in respect to the adaptation of 
measure for measure, and in the utilization of rhyme words. 
It was natural that this should be the case, since it was the 
avowed purpose of the school of poets with whom Cetina had 
identified himself to employ the forms of Italian verse, and be¬ 
cause also of the close affinity of the Castilian with the Italian 
language. 

When poets borrow ideas or forms the opening lines of their 
compositions are generally either identical to those of their 
sources, or at least betray definite relationship to them. In 
songs such relationship is of course necessary as indication 
of the original melody. The question must remain open for 
the present as to whether or not Cetina’s poems were written 
to be sung, 3 but whatever be the answer to this question, the 
phenomenon of first-line parallelism, leaving out of considera¬ 
tion the matter of rhythm, 4 is in evidence throughout Cetina’s 

1 One of the twenty-four (No. CLXXX) is from an unidentified Italian sonnet. 

>These figures do not take into account the thirty-three pages of translation from the 
Ileroides of Ovid, and the two sonnets of Latin inspiration. 

3 It has been generally accepted that the sonnets of the time, at least, were not accom¬ 
panied by music, but there has never been, so far as the present writer is aware, any thorough 
discussion of the subject. 

«On the surface it would appear that there was no rhythmic relation between March’s 
decasyllabic verses and the hendecasyllables of Cetina, but without an understanding of the 
melody upon which the Catalan strophes were based the matter cannot be arbitrarily decided 



THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


83 


borrowings, whether they are from the Catalan or the Italian. 

However, to consider only our poet’s sonnets, out of thirty- 
nine occasions of inspiration, adaptation, or translation from 
March, only eight correspondences of first-line rhyme words 
are observed, while for twenty-three identified Italian sources 
there are ten such correspondences. That is to say, approxi¬ 
mately one-fifth of the sonnets inspired by March’s verses 
show this initial rhyme correspondence as contrasted with 
more than two-fifths of those which proceed from the Italian. 
If now we consider the initial lines without reference to rhyme, 
we notice that twelve of the Catalan sources show no con¬ 
clusively definite first-line relation of any kind with their Castilian 
counterparts, while only five of the Italian sources fail to show 
such relation. Consequently, from this point of view also 
there is closer formal similarity between Cetina and the Italians 
than between Cetina and the Catalan. 

His close adherence to many of his Italian sources in the 
matter of form is rendered still more conspicuous by a detailed 
survey of his use of the rhyme words of Italian and Catalan 
models. The following are the only cases found (quite numerous, 
it is true, for a poet) of appropriation by Cetina of rhyme words 
from March: 


March XV, 1, 4, 
Cetina CCXVII, 1, 5, 

March XV, 19, 

Cetina XXXIII, 6, 

March XXVII, 6, 
Cetina CCXXXV, 10, 

March XXVII, 34, 
Cetina LXVII, 3, 


March XXXVII, 13, 
Cetina CLXXXIV, 3, 


guardat, preat, 
guardado, estimado. 

zel. 

celo. 

partit. 

partida. 

ajuda. 

ayudado. 

desperta. 

despierta. 


84 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


March XLVIII, 9, 12, 
Cetina CCVIII, 2, 4, 

March LVII, 1, 4, 
Cetina CCXXVII, 2, 7, 

March LIX, 1, 4, 

Cetina XXXVII, 1, 4, 

March LXII, 49, 50, 
Cetina CIV, 1, 3, 

March LXIV, 5, 6, 7, 8, 
Cetina XC, 1, 2, 3, 4, 5, 
6, 7, 8, 


comportar, contentar. 
comportase, contento. 

mort, sort, 
muerte, suerte. 

cert, cubert. 
cierto, descubierto. 

escrita, raure. 
escrita, borrada. 

tanta, enamora, s’entrenyora, ’spanta. 
agora, canta, tanta, enamora, hora, 
quebranta, espanta, llora. 


March LXVI, 26, 27, 
Cetina L, 10, 12, 

te, ve. 
tiene, viene. 

March LXXVIII, 18,20, 
Cetina CCXXIII, 3, 7, 

primer, derrer. 
primero, postrero. 

March LXXXI, 1, 4, 
Cetina LI 1, 5, 8, 

mort, sort, 
suerte, muerte. 

March LXXXVII, 131, 
Cetina CLXX, 1, 

s’enflama. 

derrama. 

March LXXXVIII, 41, 
Cetina CXCV, 1, 

a rmadura. 
armada. 

March LXXXIX, 49, 50, 
Cetina CXCVI, 1, 2, 

confiu, zel. 
ffo, celo. 

March XCIX, 36, 

Cetina CLXXVIII, 8, 

enteniment. 

entendimiento. 

March CII, 137, 140, 
Cetina CIX, 1, 4, 

ensens, pens, 
incienso, pienso. 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


85 


March CXXIII, 1,2,3, 
6, 7, 

Cetina CLIII, 1, 2, 3, 
9, 11. 


passio, coneximent, sentiment, profitos, 
cobej6s. 

apasionado, conocimiento, sentimiento* 
provechoso, codicioso. 


Turning now to the sonnets of Italian inspiration that present 
corresponding rhymes, we observe that, as compared with the 
Catalan, a much larger number of Italian rhyme words enter 
into the compositions of Cetina. The initial verses of the 
Italian and the Castilian poems are reproduced below in order 
to show that Cetina’s fidelity to the opening movement and 
wording of the Italian models is often as marked as is his de¬ 
pendence upon their schemes of rhyme: 


Petrarch, 

Cetina VIII 

rhyme words: 

Petrarch, 

Cetina CXLIV, 
rhyme words : 

Tansillo, 

Cetina XI, 

rhyme words: 


Tansillo, 

Cetina XV, 

rhyme words: 

Tansillo, 

Cetina LVII, 

rhyme words: 

Tansillo, 


Amor, fortuna, e la mia mente schiva 
Amor, fortuna, y la memoria esquiva 
1, 4, 5, 8, schiva, riva, priva, viva, 

1, 4, 5, 8, esquiva, priva, aviva, viva. 
Ne per sereno ciel ir vaghe stelle 
Ni por el cielo ver correr estrellas 
1, 3, 7, stelle, armati, prati, 

1, 3, 6, estrellas, armados, prados. 
Amor m’impenna Tale, e tanto en alto 
Amor mueve mis alas y tan alto 
1, 2, 5, 8, 14, alto, pensiero, assalto, 
salto, ardire, 

1, 2, 5, 8, 14, alto, pensamiento, exalto, 
salto, osadfa. 

Quel nodo ch’io pensai che fosse sciolto 
Aquel nudo que ya debia ser suelto 
1, 2, 3, sciolto, inganni, tiranni, 

1, 2, 3, suelto, danos, anos. 

Qual rapida procella si repente 
Cual fiera tempestad, cual accidente 
1, 4, repente, dolcemente, 

1, 4, accidente, dulcemente. 

Cantai, or piango, e se nel duro petto 


86 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


Cetina CXXVIII, 
rhyme words: 


Ariosto, 

Cetina CCXVI, 
rhyme words: 

Bembo, 

Cetina CXXI, 
rhyme words: 

Castiglione, 

Cetina CXXXV, 
rhyme words: 


Sannazaro, 

Cetina LIX, 

rhyme words: 

Coccio, 

Cetina CCX, 

rhyme words: 

Gesualdo, 

Cetina XXIV, 
rhyme words, 


Mozzarelli, 


Llorando vivo, y si en el hero pecho 
1, 2, 6, 7, 8, petto, pianto, tanto, quanto, 
sospetto, 

1, 2, 6, 7, 8, pecho, llanto, tanto, cuanto, 
sospecho. 

Se senza fin son le cagion ch’io v’ami 
Si tantas partes hay por vuestra parte 

2, 3, sospiri, mi ritiri, 

2,3, suspire, me retire. 

Se stata foste voi nel colle Ideo 
Laura, si cuando en la gran selva Idea 
1, 4, 5, 8, Ideo, cadeo, feo, poteo, 

1, 4, 5, 8, Idea, dea, fea, vea. 

Cantai, mentre nel cor lie to fioria 
Mientra en mi la esperanza florecia 
1, 4, 9, 11, 12, 13, 14, 
fioria, la doglia mia, governo, eterno, 
canto, interno, pianto, 

1, 4, 9, 11, 12, 13, 14. 
florecia, la pena mia, gobierno, eterno, 
canto, interno, llanto. 

Lasso, che ripensando al tempo breve 
Cuando a contemplar vengo el curso 
breve 

1, 4, 5, breve, deve, neve, 

1, 4, 5, breve, debe, nieve. 

Deh porgi mano a la mia fragil barca 
Si no socorre Amor la fragil nave 

2, 9, 12, orgogli, vela, cela, 

2. 9. 12, orgullos, vela, cela. 

O viva fiamma, o miei sospiri ardent 1 
i Ay, vivofuego! iAy, fieropensamiento! 
8, 10, 11, 13, 14, tormenti, giocondo, 
canto, mondo, pianto, 

8, 10, 11, 13, 14, tormentos, jocundo, 
canto, mundo, llanto. 

Mentre i superbi tetti a parte a parte 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


87 


Cetina CXXXI, Mientra con gran temor por cada parte 

rhyme words: 1, 2, 3, 4, 5, 9, 10, parte, belle, stelle, 

Marte, parte, governa, pianti, 

1, 2, 3, 4, 5, 9, 10, parte, bellas, estrellas, 
Marte, parte, gobierna, llanto. 

Thus it is seen that the nineteen parallel instances where 
Castilian-Catalan rhyme correspondences are present show 
only thirty-six of these, as contrasted with fifty-three corre¬ 
spondences in thirteen Castilian-Italian parallels; and to these 
statistics we may add that fifteen of the sources in March, as 
contrasted with just one in Italian, have practically no word 
for word connection of any kind with the sonnets of Cetina 
they inspired. It is noteworthy, also, that there are only three 
cases of rim a aguda in all of Cetina’s two hundred and forty 7 
three sonnets, 5 a circumstance which affords added proof that 
March was not his model for form. 6 Indeed all indications 
point to Cetina’s strict formal adherence to the Italian manner, 
an adherence which, as said before, was precisely the thing to 
be expected. 

But if, as concerns formal imitation, little claim can be made 
for March, it is equally clear that there is in reality more of 
actual substance, both tangible and intangible, from the Valen- 
cian in the poetry of Cetina, than from all the Italian poets 
combined. So much can certainly be said in view of the dis¬ 
coveries outlined in this study, and it is also true that, although 
few of Cetina’s poems left unmentioned could be considered 
as pointing with certainty to Italian inspiration, there are a 
considerable number that seem beyond reasonable doubt in¬ 
spired by March. 7 

The Spanish poet, therefore, although unquestionably inter¬ 
ested in the work of Petrarch and his successors in Italy, was 
to a greater degree attracted by the cants d'amor of March, and 
gave concrete evidence of the fact. One could not include as 


*See sonnets 38 (sufrir, dormir, sentir, alegrar, dar); and 217 (mostrd, fenecid). 

6 Unless his frequent use of long rhyme words such as inconveniente, conocimiento, Pensa- 
miento, sufrimiento, etc., which are strongly reminiscent of March, can be regarded as evidence 
of a sort of formal imitation. 

i Such as sonnets, 13, 16, 29, 35, 51, 62, 68, 74, 93, 96, 152, 182, 186, 230, 233, 234, 241, 244. 



THE SOURCES OF THE POETRY OF GUT1ERRE DE CET1NA 


rivals of Cetina in this respect Romani, who exercised himself 
solely with translation, nor Montemayor, whose poetic work, 
outside of the translation of a number of the cants d'amor y 
shows only slight incidental traces of March’s influence. Neither 
could Hurtado de Mendoza, Garcilaso de la Vega, Luis de Le6n, 
and Hernando de Acuna be compared with Cetina, because the 
traces of March in their works are relatively quite insignificant. 
Boscan and Fernando de Herrera are Cetina’s only rivals, in a 
real sense, as imitators of March, since they alone give evidence 
in their verses of genuine assimilation of some of that poet’s 
conceptions. Bosc&n’s March-inspired sonnets, however, are 
hardly more than glossings of certain of the ideas of his country¬ 
man, and many of the borrowed thoughts of Herrera are, as 
said before, difficult to trace with exactness to their undoubted 
source in March’s verses. Attempts to discover in the work 
of either of these two poets counterparts from March’s stanzas 
result usually in perplexity, and in the conviction that they 
borrowed from him only a number of general ideas, not such 
definite concrete ideas and images as those with which the 
verses of Cetina are crowded, nor important and extended parts 
of March’s own wording, such as pervade Cetina’s poetry. 

It results from what has been shown in the preceding pages 
that Cetina invented comparatively little, and that, when he 
soared above the commonplaces of amorous poetry, he fre¬ 
quently depended upon material drawn either from Italy or 
from Auzias March. This fact need not detract, however, 
from our admiration for his skill as a sonneteer. His canciones 
and tercetos do not represent his best work. Some of them in¬ 
deed contain pleasing ideas (often derived apparently from the 
reading of March), but these ideas are too often unduly extended 
and too often repeated. With the sonnets the case is different, 
and it is certain that Cetina wrote some of the most graceful 
and finished ever composed in Spain. 

Why he chose so much from March that suggested disease 
and the grave, instead of inclining oftener to the more cheerful 
moods of his model, as so susceptible and change-loving a young 
man might have been expected to do, it is, of course, impossible 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


89 


to say. Sr. de Icaza thinks that practically all of the poetry 
of Cetina is autobiographical in nature. He did not, however, 
center his study on that part of the poet’s work which was in¬ 
spired by the Catalan; and it rather seems that in many of those 
discussions of metaphysical obscurities the Spanish poet, as 
well as his model, “se proposait de faire oeuvre d’art plus encore 
que d’enregistrer les battements de son coeur.” 8 

Further research, it may be said in conclusion, may result 
in the discovery of additional sources for Cetina’s verses, but 
it is hoped that this study will be of service in establishing the 
chief literary interests of our poet, and will thereby aid in a 
better understanding of his works and of his place in Spain’s 
renaissance of letters. 


8 Pages, Ausias March et ses Predecesseurs, p. 224. 



90 


THE SOURCES OF THE POETRY OF GUT1ERRE DE CETINA 


INDEX 


Acuna, Hernando de, 12; 18, n. 9; 

19; 22, n. 45; 24, n. 1; 25; 88 
Alarcon, Salazar de, 9, n. 5 
Alba, Duke of, Cetina’s sonnet to, 
13 

Alcazar, Baltasar dfel, 12-13 
Argote de Molina, mention of 
Cetina’s death by, 10, n. 

Ariosto, 18; 23; 24; 34-35; 42 
Bembo, Pietro, 21; 29; 42 
Boscan, Juan, 12; 24; 42; influence 
^ of March on, 45, 46, 48 
Cardona, Fernando Folch de (Almi- 
rante de Napoles), 43; 44 
Cardona, Maria di (Marchioness of 
Padula), Cetina’s sonnet to, 15 
Castilla, Francisca del (mother of 
Cetina), 9 

Castiglione, Baldassare, 21; 24; 30- 
32; 42 

Castro, Adolfo de, 9; 16 
Cetina, Beltran de (father of 
Gutierre de Cetina), 9 
Coccio, Francesco, 27; 42 
Collenuccio, Pandolfo, 17 
Cotes, Luis de, 13 
Della Casa, Giovanni, 29, n. 13 
Desportes, 22, n. 9 
Dialogo entre la cabeza y la gorra , 
translation of Collenuccio’s 11 
Filotimo, 17 

Dolce, Lodovico, 19; 21 
Domenichi, Lodovico, 25, n. 5 
Duren, assault and capture of, wit¬ 
nessed by Cetina, 10 
Emilii, Emilio, 22, n. 43 
En alabanza de la cola o rabo, at¬ 
tributed to Mendoza, 19 
Feria, Count of, Cetina’s sonnet to, 
13 

Gabriele, Trifone, 28; 42 
Galeote, Gonzalo, 11 
Gallardo, Bartolome Jose, 16 
Garcilaso de la Vega, 12; 14; 15, 
n. 20; 24; influence of March on, 
46, 88 

Gesualdo, Andrea, 25; 42 
Gonzaga, Countess Laura, 14; 15; 30 
Gualbes (el Pabordre), 13 
Guzman, Perez de, 9, n. 5 


Hazanas y la Rua (editor of the 
Obras de Gutierre de Cetina ), 9 and 
n. 6; 10, n. 8; 17; 58; 59, n. 18 
Herrera, Fernando de, influence of 
March on, 46, 48 

Icaza, Francisco A. de, 11, n. 10; 

14, n. 19; 20, n. 34 
La Pidga , 19 

Leiva, Antonio de Leiva, 13; 28 
Leiva, Luis de (second Prince of 
Ascoli), 13; 28 

Leon, Luis de, influence of March 
on, 46, 88 

Lopez, Gonzalo (uncle of Cetina), 10 
March, Auzias, 19; 23; 42; popu¬ 
larity in Spain, 43; editions and 
translations of works of, 43-44; 
contrasted with Petrarc'h, 44-45; 
citations from, 47-82 
Marina de Aragon, Cetina’s sonnet 
to, 14 

Mele, Eugenio, 18; 22; 39; 42 
Mendoza, Diego Hurtado de, 10; 
12; 14; 19; 24; 25; influence of 
March on, 46, 88 

Mendoza Sarmiento, Marfa de, 
addressed in Cetina’s fifth madri¬ 
gal, 13 

Menendez y Pelayo, 11, n. 10;24, 
n. 1 

Molfetta, Princess of (Isabella di 
Capua), 10; Cetina’s sonnets and 
epistles to, 14; 19 

Montemayor, Jorge de, 12 ana n. 11; 
44; 88 

Rodriguez Marin, Francisco, 10; 11, 
n. 10 

Mozzarelli, Giovanni, 22; 24; 25, n. 
5; 42 

Nava, Hernando de, 11 
Ovid, Cetina’s translations from 
Heroides of, 19; 20; 82, n. 2 
Pacheco, Francisco, 9 and n. 3; 13 
Pages, Amedee, 19, n. 31; 29, n. 18; 

57; 58; 59, n. 18; 63; 89 
Paradoja en alabanza de los cuernos, 
10, n. 8; 17; 19 

Pedrol, Luis, edits the poems of 
Auzias March, 44 
Peralta, Francisco de, 11 


THE SOURCES OF THE POETRY OF GUTIERRE DE CETINA 


91 


Petrarch, 15; 18; 20; 22; contrasted 
with Auzias March, 44-45 
Philoxeno, Marcello, 35-36 
Resa, Juan de, edits the poems of 
Auzias March, 44 

Rime diverse di molti eccellentissimi 
auttori nuovamenle raccolte, ed. 
1546, 25 and n. 5 

Rojas Sarmineto, D. Juan de, 72 
Romani, Baltasar de, 43 and n. 2; 88 
Rota, Bernardino, 38—39; 42 

Salazar, Cervantes de, 9, n. 5 
Sannazaro, Giacomo, 32-34, 42 
Sarmiento Mendoza, Maria de, 14 
Savj-Lopez, Paolo, 18; 21; 22; 39; 42 


Sedano, Lopez de, 16 
Serafino Aquilano, 37; 42 
Sessa, Duke of (Gonzalo Fernandez 
de Cordoba), Cetina’s sonnet to, 
13 

Tansillo, Luigi, 14; 15; 21; 22; 23; 
24;39-41; 42 

Urrea, Jeronimo de, Cetain’s epistle 
to, 13 

Varchi, Benedetto, 22, n. 3; 29, n. 13 
Vasto, Marquis of (Alfonso di 
Avalos), Cetina’s sonnet to, 14 
Vasto, Marchioness of, Cetina’s 
sonnet to, 14 

Vega Carpio, Lope Felix de, 44 
Vilasalo, Pere de, 43; 44 


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